Endurance

Endurance (pronounced en-doo r-uhns or en-dyoo r-uhns)

(1) The fact or power of enduring or bearing pain, hardships, etc.

(2) The ability or strength to continue or last, especially despite fatigue, stress, or other adverse conditions; stamina.

(3) Lasting quality; duration.

(4) Something endured, as a hardship; trial.

1485-1495: From the Middle English enduren from the Old French endurer, from the Classical Latin indūrō (to make hard).  Enduren displaced the pre-900 Old English drēogan (congnate with the Gothic driugan (to serve in arms) which survives dialectally as dree (tedious; dreary)).  The meaning "ability to endure suffering" was first noted in the 1660s. The older forms, enduraunce, indurance, induraunce are all long obsolete.  Construct was endure + ance; the suffix –ance (a process or action) added to the stem of verbs to form a noun indicating a state or condition, such as result or capacity, associated with the verb, this especially prevalent with words borrowed from French.  Many words ending in ance were formed in French by alteration of a noun or adjective ending in ant; ance was derived from the Latin anita and enita.

Endurance Racing

There’s no precise definition of endurance racing, it's just a form of competition of greater duration of length than most.  It’s bounced around over the years but events now regarded as endurance races tend to be over a distance of 625 miles (1000 km) or twelve or twenty-four hours long.  Long races existed from the early days of motorsport, the first twenty-four hour event being on an oval circuit at Dayton, Ohio in 1905, followed soon by the opening event at the purpose-built Brooklands circuit in 1907.  One of the epic races was the Targa Florio, first run in 1906.  Held originally on public roads in the mountains of Sicily near the capital Palermo, it was for decades the oldest event for sports cars and a round of the World Sportscar Championship between 1955-1973.  The first few races were a lap of the whole island but as the volume of traffic and competitors increased, it became too disruptive and the track length was reduced to the 72 kilometre (45 mile) Circuito Piccolo delle Madonie, each Targa Florio run over eleven laps.  Safety concerns and the oil crisis conspired to remove it from the world championship after 1973 and it was finally cancelled in 1977.  A much toned-down event is now run annually as a round of the Italian Rally Championship.

Further north, the thousand-mile Mille Miglia, also run on public roads, was first staged in 1927 and although soon one of the classic events on the calendar, it's the 1955 race to which a particular aura still attaches.  Won by Stirling Moss (1929-2020) and  Denis Jenkinson (1920-1996), they used a Mercedes 300SLR, a car which technically complied with the sports car regulations but was actually the factory's formula one machine (W196) with a bigger engine and a streamlined body with seats for two.  It wasn't exactly a "grand prix car with headlights" as some claimed but wasn't that far off.  Officially the W196S (Sports) in the factory register, for marketing purposes it was dubbed (add badged) as the 300SLR to add lustre to the 300SL Gullwing coupé then on sale.

Mercedes-Benz W196S (300SLR), Mille Miglia, 1955.

The race was completed in 10 hours, 7 minutes and 48 seconds, a average speed of 157.650 km/h (97.96 mph) (the course was never exactly 1000 miles and that year was 1,597 km (992 miles) and at times, the 300SLR touched almost 305 km/h (190mph) which enabled Moss to cover the last 340 km (211 miles) at an average speed of 265.7 km/h (165.1) mph.  The record set in 1955 will stand for all time because the Italian government banned the Mille Miglia after two fatal crashes during the 1957 event, one of which killed nine spectators and a cursory glace at the photographs showing crowds clustered sometimes literally inches from the speeding cars might suggest it's surprising not more died.  Today, the name of the Mille Miglia endures as a semi-competitive tour for historic racing cars which, run since 1977.  By contrast, events run on closed courses have survived, the most famous of which is the 24 Heures du Mans (the Le Mans 24 Hour) and well-known 1000 km, 12 & 24 hour races have been run at Sebring, Laguna Seca, Daytona, Bathurst, the Nürburgring and Spa Francorchamps.

Endurance racing: Porsche 917Ks sideways in the wet; Vic Elford (1935-2022, right #11) and Pedro Rodriguez (1940-1971, left #10), BOAC 1000km, Brands Hatch, April 1970.  The race was the third round of the 1970 World Sports Car Championship.  Chris Amon (1943–2016) put a Ferrari 512S on pole but the 1000 was won (by 5 laps) by Pedro Rodríguez & Leo "Leksa" Kinnunen (1943–2017) in a Porsche 917K entered by John Wyer (1909–1989).  Amon was impressed by the speed maintained by Rodríguez in atrociously wet conditions (although much improved from the lethally unstable version seen a year earlier, even by 1970 the 917 could be difficult to handle even on a dry surface) and is said to have remarked to his pit crew: "Can somebody tell Pedro it's raining?"

Some endurance required: In 2023, the Dowse Art Museum in Wellington, New Zealand, staged the exhibition exploring the 2014 installation at Fort Delta, Melbourne in July 2014 in which New Zealand based artist Claire Harris (b 1982) watched Ms Lohan's entire filmography back to back in a live performance art work over 28 hours.  The issues discussed included “how” and “why” and there were practical tips on developing the stamina required for such feats of endurance.  The companion 34 page illustrated book Happy birthday Lindsay Lohan, 2011-2014 is available on request from the National Library of New Zealand.  The pages are unnumbered, the rational for which is not disclosed.

As a general principle, an "endurance event" tends to be a longer version of something so it’s thus a relative as well as an absolute term.  In sport, something like the Marathon, run over 42 kilometres (26 miles) is the endurance event of running where as the shorter contests are sprints (such as the 100 or 200 meters) or “distance” races (such as the 5,000 or 10,000 metres).  However, were the Marathon not to exist, then the 10,000 would be the “endurance” event of the Olympic Games, the tag attaching to whatever is the longest form.  In other fields, “endurance” can be more nuanced because what some find an “act of endurance” to sit through, others relish and long for more.  Richard Wagner’s (1813–1883)'s Der Ring des Nibelungen (The Ring of the Nibelung, 1876 (usually referred to as “The Ring Cycle”)) is an opera of epic length in cycle consisting of four separate pieces, each of the composer regarded as “an opera”:

Das Rheingold: (The Rhinegold; some 2½ hours with no intermission)
Die Walküre: (The Valkyrie; some 4½-5½ hours with intermissions)
Siegfried: (some 5-5½ hours with intermissions)
Götterdämmerung: (Twilight of the Gods; some 5-6 hours with intermissions)

So, a performance of the Ring Cycle absorbs between 15-17 hours and is thus usually spread over several days, some productions staging the event across a month, each performance (usually three or four) held on a weekend.  Grand Opera really is the West’s greatest artistic achievement and among the aficionados, the Wagnerian devotees are the most dedicated and passionate, some travelling the world to compare and contrast different productions of the Ring.  For them it’s not usually a test of endurance (although a production of which they don’t approve will be a long 17 hours) because they relish every moment but for others it’s probably unthinkable.  Although it’s long been attributed to him, the US humorist Mark Twain (1835-1910) may never have said: “Wagner’s music isn’t as bad as it sounds”, the back-handed compliment reflects the view of the majority, brought up on shorter, more accessible forms of entertainment.  For them, one hour of Wagner would be an endurance test.

The three later individual pieces of The Ring are themselves epic-length operas and Wagner wrote a number in this vein including Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg, 1868; 5-6 hours), Parsifal (1882; 4-5 hours), Lohengrin (1850; 4 hours), Tannhäuser (1845; 4 hours) and the incomparable Tristan und Isolde (1965; 4-5 hours).  What came to define “epic length” in Opera was: (1) the typical length of other works and (2) the powers of endurance of those on stage, in the orchestra pit or in the audience.  Other composers did tend to write shorter operas although Giacomo Meyerbeer (1791–1864), Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Gioachino Rossini (1792–1868) and Hector Berlioz (1803–1869) all produced works running over four hours and it was not unusual for there to be two or even three intermissions.  For profligacy with time however, none match Wagner although some modern composers have written very long operas although their length seems other to be their only memorable feature.

Epics: On vinyl, tracks did lengthen and if the physical limits of vinyl were exceeded, the piece could be spread over more than one disk.  Iron Butterfly’s In-A-Gadda-Da-Vida (1968, left) was 17:05 in length, Jethro Tull’s Thick as a Brick (1972, centre) was 43:46 (over two disks) while Rush’s 2112 (1976, right) was 20:33.

Cast adrift from the moorings of endurance by internet streaming making available infinite playing time, “songs” in the twenty-first century can last literally hours and an illustrative example is The Rise and Fall of Bossanova by PC III (Michael J Bostwick) which weighs in at a Wagarian 13 hours, 23 minutes, and 32 seconds.  It seems between 2016-2020 to have held the Guinness World Record as the longest song officially released although whether this should be thought a proud boast or admission of guilt will be up to those who listen.  Ominously, one of the implications of AI (artificial intelligence) is that in theory, someone could release a song which, without hesitation, deviation or repetition, goes on forever.

Andy Warhol's Empire is occasionally screened but always on the basis that viewers may "come and go" at any point in its eight hour run-time.

In pop music, the “epic length piece” was shorter by virtue of technological determinism.  Modern pop music (as the term is now understood) began in the 1950s and the standard form of distribution by the 1960s was the LP (long-playing) vinyl album, first released in 1948.  Because the technology of the time limited the duration of music which could fit on the side of a LP disk to about 27 minutes, that became the upper limit for a single song and at that length, it could be called “epic length” or just “an epic”.  Some bands and individuals did produce “epics” with varied results and some were probably better enjoyed (or endured) with drugs.  Not discouraged by the limitations of vinyl, others noted the possibilities offered by double (2 disks) or even triple (3 disks) albums and penned “rock operas”, the need to change disks a convenient operatic touch in that it provided a intermission.  Andy Warhol (1928–1987) took the idea of the endurance test to celluloid, in 1965 releasing Empire, a silent film shot in black & white showing New York’s Empire State Building at night (form a single aspect).  Running for some eight hours and designed to be viewed in slow-motion, it received critical praise from the usual suspects and little interest among even those who frequented art-house cinemas.  Warhol issued as statement saying the purpose was “to see time go by” and it can’t be denied he succeeded, perhaps even more convincingly than his earlier five hour epic Sleep (1964) which was an edited collection of takes of a man sleeping.  Similar scenes may have been found among those who found watching Empire beyond their powers of endurance.

Equiluminant

Equiluminant (pronounced ee-kwuh-loom-uh-nuhnt)

(1) In optics, the quality of two or more objects or phenomenon being equally luminant.

(2) Figuratively, two or more people being judged equally illustrious, attractive, talented etc.

1860s: The construct was equi- +‎ luminant.  As an adjective, luminant means "that which illuminates; that which is luminous" while as a noun it describes "an illuminating agent".  Luminant was from the Latin verb lūminant, the third-person plural present active indicative of lūminō, the construct being lūmen, from the Proto-Italic louksmən, from the primitive Indo-European léwk-s-mn̥, from the root lewk- (bright) +‎ -ō (appended to form agent nouns).  The accepted synonym is isoluminant and equiluminescent is the alternative form.  When used figuratively, although it would make no sense in science, the comparative is “more equiluminant” and the superlative most “equiluminant”.  Equiluminant & equiluminescent are adjectives and equiluminance is a noun; the noun plural is equiluminances (which some list as non-standard).

The prefixes: equi-, homo-, peri- & iso-

The prefixes “equi-”, “homo-”, “peri-” & “iso-” are all used to in same way suggest a concept of sameness or equality, but by tradition and convention, are used in different contexts to produce different meanings or emphasis:

Equi- is used to indicate equality, evenness, or uniformity and is often seen in mathematical, scientific & technical publications to describe something is equal in measure or evenly distributed such as equilateral (a shape having all sides of equal length, equidistant (being at equal distances from two or more points) & equilibrium (a state of balance where opposing forces or influences are equal).  Homo- is used to imply “same” or “alike” and thus sameness or (sometimes by degree) similarity.  In technical use it is a standard form in biology, chemistry & the social sciences to indicate sameness in kind, structure, or composition and by far the most common modern use is in the now familiar “homosexual” which in many jurisdictions is now a proscribed (or at least discouraged) term because of negative associations (“homo” as a stand-alone word also having evolved as a slur used of, about or against homosexual men).  The uses of the prefix are illustrated by homogeneous (composed of parts or elements that are all of the same kind, homologous (having the same relation, relative position, or structure) & homonym (in linguistics words which sound the same or are spelled the same but have different meanings).  Iso- is used to denote equality, uniformity, or constancy in terms of specific characteristics like size, number, or configuration and is most used in scientific and mathematical publications.  Examples of use include isometric (having equal dimensions or measurements, isothermal (having constant temperature) & isosceles (having two sides of equal length).  Peri- is used to denote “surrounding or enclosing”, or “something near or around a specific area or object”, examples including perimeter (the continuous line forming the boundary of a closed geometric figure), periscope (an optical instrument for viewing objects that are above the level of direct sight, using mirrors or prisms to reflect the view & peripheral (relating to or situated on the edge or periphery of something.

So equi-focuses on equality in measure, distance, or value, homo- focuses on sameness in kind, structure, or composition, iso- focuses on equality or uniformity in specific characteristics or conditions while peri- :focuses on surrounding or enclosing, or being near or around something.  For most purposes equi- & iso- can be used interchangeably and which is used tends to be a function of tradition & convention.

Equiluminant colors

An example the equiluminant in blue & orange.  In color the text appears at the edges to "shimmer" or "vibrate".  When re-rendered in grayscale, because the value of the luminance is so close, the two shades become almost indistinguishable.

In optics, “equiluminant” is a technical term used to colors with the same (or very similar) luminance (brightness) but which differ in hue (color) or saturation (intensity).  The standard test for the quality is to convert a two-color image to grayscale and, if equiluminant, the colors would appear nearly indistinguishable because they share the same level of “lightness”.  It’s of some importance in fields as diverse as military camouflage, interior decorating, fashion, astronomy and cognitive psychology.  In the study of visual Perception, when colors are equiluminant, the human visual system relies primarily on the differences in hue and saturation rather than brightness to distinguish them and can create unique visual effects and challenges in perception, as the brain struggles will in most cases struggle to segregate colors based solely on luminance; essentially, there is a lack of information.

An enigmatic abstraction (2024) by an unknown creator.  This is an example of the use of non-equiluminant shades of orange & blue.

In art and design, the qualities of is used to create visual effects, the perception of some “shimmering” or “vibrating” at the edges where colors meet actually a product of the way the different hues are perceived by the brain to be “less defined” (a process not dissimilar to the “grayscaling”) and thus “dynamic”, lending the impression of movement even in a static image, especially if seen with one’s peripheral vision.  While a handy device for visual artists, that’s something of significance in the world of practicalities because the close conjunction of equiluminant colors can make certain visual tasks more difficult, most obviously reading text or distinguishing shapes and objects.  All that happens is the luminance contrast can means there’s a perception of fuzziness at the edges of shapes which means people can suffer a diminished ability to distinguish fine details and the smaller the object (text, numerals or geometric shape), the more acute the problem.  The phenomenon has been well researched, scientists using the properties in equiluminant colors to study how the brain processes color and the findings have been important in fields like instrumentation the production of warning signs.

Richard Petty's 1974 NASCAR Dodge Charger (left) and 3 ton Super-Duty Jack, produced under licence by the Northern Tool Company (right).  1974 was the last year in which the big-block engines were allowed to run in NASCAR; the big-block era (1962-1973) was NASCAR's golden age.  Richard Petty (b 1937) used a "reddish orange" to augment his traditional blue when he switched from Plymouth to Dodge as the supplier of his NASCAR stockers in the early 1970s.  His team was actually sponsored by STP rather than Gulf and STP wanted their corporate red to be used but in the end a "reddish orange" compromise was negotiated.  However, when he licenced the Northern Tool Company to sell a "Richard Petty" jack, the shade used appeared to be closer to the Gulf orange.

1968 Lamborghini 1R tractor in signature colors (left) and rendered in grey-scale (right); the combination non-equiluminant.  This version of 1R is known as the cofano squadrato (squared hood (bonnet)).  It was produced between 1966-1969 and replaced the earlier 1R (1961-1965) which featured a rounded hood.  The earlier model seems not retrospectively to have been christened but presumably it would have been the cofano arrotondato, proving everything sounds better in Italian than English.  An Italian could read from a lawnmower repair manual and it would sound poetic.  

At scale, equiluminance doesn’t have to be obvious for it still to have desirable “side effects” and while it’s often noted two specific hues: (1) the blue Llewellyn Rylands pigments 3707 (Zenith Blue, replicated by Dulux as “Powder Blue”) & (2) the orange Rylands pigments 3957 (Tangerine, replicated by Dulux as “Marigold”) are “equiluminant colors”, that their use in combination appears so often on cars, motor-cycles and other stuff with wheels is due less to the claim the shades seem at the edge to “vibrate” that the striking combination appearing on some of the Gulf Oil sponsored Ford GT40s and Porsche 917s during sports car racing’s golden era which ended in the early 1970s.  Given the surface area involved, the effect is probably imperceptible which viewed at close range but the science does suggest that at speed (and these were fast machines), at the typical viewing range found on racetracks, there was what the optical analysts call “visual pop”, something which heightens the brain’s perception of motion,

Ford GT40 chassis# 1075, winner of the 1968 & 1969 Mans 24 hour endurance classic in Gulf livery.

Gulf Oil however didn’t explicitly have the equiluminescent in mind when they choose to adopt the combination.  Originally, the Gulf GT40s were painted in the their corporate colors of dark blue & orange but Gulf was an acquisitive conglomerate and in late 1967 it took over the Wilshire Oil Company of California, the corporate colors of which were powder blue and orange, something which Gulf’s management thought “more exciting” and better suited to a racing car.  The change was made for the 1968 season with the Fords now running as five-litre (302 cubic inch) sports cars, governing body having banned the seven-litre engines the cars previously had used (under a variety of names, motorsport has for decades been governed by some of sport’s dopiest regulatory bodies).  In the Gulf colors, GT40 chassis #1075 won the Le Mans 24 hour endurance classic in 1968 & 1969 (repeating the brace Ford had achieved with the seven-litre (427 cubic inch) machines in 1966-1967), the first time the same car had achieved victory twice.  In 1968, the same car won the BOAC International 500, the Spa 1000-kilometer race, and the Watkins Glen 6-hour endurance race, while in 1969 it also took the Sebring 12-hour race, a remarkable achievement for a race car thought obsolescent.  The livery has since been much replicated.

1971 Porsche 917K in Gulf livery.  The fins were added to improve straight-line stability and were strikingly similiar to those which appeared on some late 1950s US Chryslers although the aerodynamic properties of those were dubious.

Interestingly, the team painting the GT40s were aware of the issue created by equiluminant colors and as a matter of professional pride didn’t want it thought they’d created something with “fuzzy edges” so deliberately they included a dark blue hairline-border around the orange, reducing the optical illusion to ensure everything looked immaculately smart when photographed.  When the Gulf team in 1970 switched to using Porsche 917s for the World Sports Car championship, they adopted the expedient of a black line of definition between the blue & orange so the whole enduring appeal of the combination lies just in the striking contrast and relies not at all on the equiluminance.

Ford GT Heritage Edition First Generation (left) and Second Generation (right). 

Little more than 100 GT40s were built but Ford noted with interest the ongoing buoyancy of the replica market, thousands of the things built in a number of countries.  In the twenty-first century, the company decided to create their own replicas but the new GT (2004-2006) was hardly a clone and although it shared the basic mechanical layout and the shape (though larger) was close, it was a modern machine.  The car wasn’t called GT40 because the rights to the name had ended up with another company and Ford declined to pay the demanded price.  Over 4000 were built and one special run was a tribute to the 1968-1969 cars in Gulf livery, 343 of the “Heritage Editions” produced.  A second generation of GTs was produced between 2016-2022 and was very modern, the demands of the wind-tunnel this time allowed to prevail over paying tribute to the classic lines of the 1960s.  Although the supercharged 5.4 litre V8 didn’t return and the new car used a turbocharged 3.5 litre (214 cubic inch) V6, it outperformed all its predecessors over the last 60-odd years (all the original GT40 chassis built between 1964-1969) including the 7 litre (427 cubic inch) monsters which won at Le Mans in 1966 & 1967 so it took decades, but eventually there really was a "replacement for displacement".  The V6 also was used also in pick-up trucks which doesn't sound encouraging but versions of the small & big block V8s used in the GT40s also saw similar service, the latter even first appearing in the doomed Edsel.  Production of the second generation was limited to 1350 units, 50 of which were “Heritage Editions” in the Gulf colors, one of several “limited editions”.

Lindsay Lohan who when swimming uses both orange and blue, sometimes as solids (left and centre), sometimes in combination (right).

Dynamometer

Dynamometer (pronounced dahy-nuh-mom-i-ter)

(1) A device for measuring mechanical force or muscular power (ergometer).

(2) A device for measuring mechanical power, especially one that measures the output or driving torque of a rotating machine.

1800–1810: A compound word, the construct being dynamo + meter.  Dynamo was ultimately from the Ancient Greek δύναμις (dúnamis; dynamis) (power) and meter has always been an expression of measure in some form and in English was borrowed from the French mètre, from the Ancient Greek μέτρον (métron) (measure).  What meter (also metre) originally measured was the structure of poetry (poetic measure) which in the Old English was meter (measure of versification) from the Latin metrum, from the Ancient Greek metron (meter, a verse; that by which anything is measured; measure, length, size, limit, proportion) ultimately from the primitive Indo-European root me- (measure).  Although the evidence is sketchy, it appears to have been re-borrowed in the early fourteenth century (after a three hundred-year lapse in recorded use) from the Old French mètre, with the specific sense of "metrical scheme in verse”, again from the Latin metrum.  Metre (and metre) was later adopted as the baseline unit of the metric system.  Dynamometer is a noun; the noun plural is dynamometers.

The modern meaning of dynamometer (measuring the power of engines) dates from 1882 and is short for dynamo-machine, from the German dynamoelektrischemaschine (dynamo-electric machine), coined in 1867 by its inventor, the German electrical engineer Werner Siemans (1816-1892). Dynamometers, almost universally referred to as dynos, are machines which simultaneously measure the torque and rotational speed (RPM) of an engine or other rotating prime-mover so specific power outs may be calculated.  On modern dynamometers, measures are displayed either as kilowatts (kW) or brake-horsepower (bhp).

Evolution of the Turbo-Panzer

Porsche 917 Flat 12 being run on factory dynamometer, Stuttgart, 1969.

During the last hundred years odd, the rules of motor sport have been written by an alphabet soup of regulatory bodies including the AIACR, the CSI, the FISA and the FIA and these bureaucrats have made many bad decisions, tending often to make things worse but every now and then, as an unintended consequence of their dopiness, something really good emerges.  The large displacement cars of the mid-1960s contested sports car racing in one of the classic eras in motorsport.  Everyone enjoyed the competition except the rule-making body (the CSI, the Commission Sportive Internationale) which, on flimsy pretexts which at the time fooled nobody, changed the rules for the International Championship of Makes for the racing seasons 1968-1971, restricting the production cars (of which 50 identical units had to have been made) to 5.0 litre (305 cubic inch) engines with a 3.0 litre limit (183 cubic inch) for prototypes (which could be one-offs).  Bizarrely, the CSI even claimed this good idea would be attractive for manufacturers already building three litre engine for Formula One because they would be able to sell them (with a few adaptations), for use in endurance racing.  There’s no evidence the CSI ever asked the engine producers whether their highly-strung, bespoke Formula One power-plants, designed for 200 mile sprints, could be modified for endurance racing lasting sometimes 24 hours.  Soon aware there were unlikely to be many entries to support their latest bright idea, the CSI relented somewhat and allowed the participation of 5.0 litre sports cars as long as the homologation threshold of 50 units had been reached.  A production run of 50 made sense in the parallel universe of the CSI but made no economic sense to the manufacturers and, by 1968, entries were sparse and interest waning so the CSI grudgingly again relented, announcing the homologation number for the 5.0 litre cars would be reduced to 25.

The famous photograph of the 25 917s assembled for the CSI’s inspection outside the Porsche factory, Stuttgart, 1969.

This attracted Porsche, a long-time contestant in small-displacement racing which, funded by profits from their increasingly successful road-cars, sought to contest for outright victories in major events rather than just class trophies.  Porsche believed they had the basis for a five litre car in their three litre 908 which, although still in the early stages of development, had shown promise.  In a remarkable ten months, the parts for twenty-five cars were produced, three of which were assembled and presented to the CSI’s homologation inspectors.  Pettifogging though they were, the inspectors had a point when refusing certification, having before been tricked into believing Ferrari’s assurance of intent actually to build cars which never appeared.  They demanded to see twenty-five assembled, functional vehicles and Porsche did exactly that, in April 1969 parking the twenty-five in the factory forecourt, even offering the inspectors the chance to drive however many they wish.  The offer was declined and, honour apparently satisfied on both sides, the CSI granted homologation.  Thus, almost accidently, began the career of the Porsche 917, a machine which would come to dominate whatever series it contested and set records which would stand for decades, it’s retirement induced not by un-competitiveness but, predictably, by rule changes which rendered it illegal.  

917LH (Langheck (long tail)), Le Mans, 1969.

The ten month gestation was impressive but there were teething problems.  The fundamentals, the 908-based space-frame and the 4.5 (275 cubic inch) litre air-cooled flat-12 engine, essentially, two of Porsche’s 2.25 (137 cubic inch) litre flat-sixes joined together, were robust and reliable from the start but, the sudden jump in horsepower meant much higher speeds and it took some time to tame the problems of the car’s behaviour at high-speed.  Aerodynamics was then still an inexact science and the maximum speed the 917 was able to attain on Porsche’s test track was around 180 mph (290 km/h) but when unleashed on the circuits with long straights where over 210 mph (338 km/h) was possible the early cars could be lethally unstable.  The first breakthrough in aerodynamic dynamic was serendipitous.  After one high speed run during which the driver had noted (with alarm) the tendency of the rear end of the car to “wander from side to side”, it was noticed that while the front and central sections of the bodywork were plastered with squashed bugs, the fibreglass of the rear sections was a pristine white, the obvious conclusion drawn that while the airflow was inducing the desired degree of down-force on the front wheels, it was passing over the rear of body, thus the lift which induced the wandering.  Some improvisation with pieces of aluminium and much duct tape to create an ad-hoc, shorter, upswept tail transformed the behaviour and was the basis for what emerged from more extensive wind-tunnel testing by the factory as the 917K for Kurzheck (short-tail).

Porsche 917Ks, the original (rear) and the updated version with twin tail-fins, Le Mans, 1971.

The 917K proved a great success but the work in the wind tunnel continued, in 1971 producing a variant with a less upswept tail and vertical fins which bore some resemblance to those used by General Motors and Chrysler a decade earlier.  Then, the critics had derided the fins as “typical American excess” and “pointlessly decorative” but perhaps Detroit was onto something because Porsche found the 917’s fins optimized things by “cleaning” the air-flow over the tail section, the reduction in “buffeting” meaning the severity of the angles on the deck could be lessened, reducing the drag while maintaining down-force, allowing most of the top-speed earlier sacrificed in the quest for stability to be regained.

The Can-Am: A red Porsche 917/10 ahead of an orange McLaren M8F Chevrolet, Laguna Seca, 17 October 1971.  Two years to the day after this shot was taken, the first oil shock hit, dooming the series.

The engine however had been more-or-less right from day one and enlarged first to 4.9 litres (300 cubic inch) before eventually reaching the 5.0 limit at which point power was rated at 632 bhp, a useful increase from the original 520.  Thus configured, the 917 dominated sports car racing until banned by regulators.  However, the factory had an alternative development path to pursue, one mercifully almost untouched by the pettifoggers and that was the Canadian-American Challenge Cup (the Can-Am), run on North American circuits under Group 7 rules for unlimited displacement sports cars.  Actually, Group 7 rules consisted of little more than demanding four wheels, enveloping bodywork and two seats, the last of these rules interpreted liberally.  Not for nothing did the Can-Am come to be known as the “horsepower challenge cup” and had for years been dominated by the McLarens, running big-block Chevrolet V8s of increasing displacement and decreasing mass as aluminium replaced cast iron for the heaviest components.

The abortive Porsche flat-16.

In 1969, the Porsche factory dynamometer could handle an output of around 750 bhp, then thought ample but even 635 bhp wouldn’t be enough to take on the big V8s but, for technical reasons, it wasn’t possible to further to enlarge the flat-12, Porsche built a flat-16 which pushed their dynamometer beyond its limit, the new engine rated at 750 bhp because the factory didn’t have the means to measure output beyond that point.  Such a thing had happened before, resulting in an anomaly which wasn’t explained for some years.  In 1959 Daimler released their outstanding 4.5 litre (278 cubic inch) V8 but their dynamometer was more antiquated still, a pre-war device unable to produce a reading beyond 220 so that was the rating used, causing much surprise to those testing the only car in which it was ever installed, the rather dowdy Majestic Major (1959-1968).  The Majestic Major was quite hefty and reckoned to enjoy the aerodynamic properties of a small cottage yet it delivered performance which 220 bhp should not have been able to provide, something confirmed when one was fitted to a Jaguar Mark X.  Unfortunately, Jaguar choose not to use the Daimler V8 in the Mark X, instead enlarging the XK-six, dooming the car in the US market where a V8 version would likely have proved a great success.

The Can-Am: Porsche 917/10, Riverside, 1972.

Estimates at the time suggested the Porsche flat 16 delivered something like 785 bhp which in the Can-Am would have been competitive but the bulk of the rendered it unsuitable, the longer wheelbase necessitated for installation in a modified 917 chassis having such an adverse effect on the balance of the car Porsche instead resorted to forced aspiration, the turbocharged 917s becoming known as the turbopanzers.  Porsche bought a new dynamometer which revealed they generated around 1100 bhp in racing trim and 1580 when tuned for a qualifying sprint.  Thus, even when detuned for racing, the Can-Am 917s typically took to the tracks generating more horsepower than the Spitfires, Hurricanes and Messerschmitt which fought the Battle of Britain in 1940.  Unsurprisingly, the 917 won the Cam-Am title in 1972 and 1973, the reward for which was the same as that earlier delivered in Europe: a rule change effectively banning the thing.

The widow-maker: 1975 Porsche 930 with the surprisingly desirable (for some) “sunroof delete” option.

The experience gained in developing turbocharging was however put to good use, the 911 Turbo (930 the internal designation) introduced in 1975 originally as a homologation exercise (al la the earlier 911 RS Carrera) but so popular did it prove it was added to the list as a regular production model and one has been a permanent part of the catalogue almost continuously since.  The additional power and its sometimes sudden arrival meant the times early versions were famously twitchy at the limit (and such was the power those limits were easily found), gaining the machine the nickname “widow-maker”.  There was plenty of advice available for drivers, the most useful probably the instruction not to use the same technique when cornering as one might in a front-engined car and a caution that even if one had had a Volkswagen Beetle while a student, that experience might not be enough to prepare one for a Porsche Turbo.  Small things apparently could make a difference, one source suggesting those wishing to explore a 930’s limits should try to get one with the rare “sunroof delete” option, the lack of the additional weight up there slightly improving the centre of gravity to the extent one could be travelling a little faster before the tail-heavy beast misbehaved.  It may be an urban myth but is vaguely plausible although, at best it would seem only to delay the inevitable.

In what may have been a consequence of the instability induced by a higher centre of gravity, in 2012 Lindsay Lohan crashed a sunroof equipped Porsche 911 Carrera S on the Pacific Coast Highway in Santa Monica, Los Angeles.  Clearly, Ms Lohan should avoid driving Porsches with sunroofs.

Bonk

Bonk (pronounced bongk)

(1) A bump on the head (usually not severe).

(2) To hit, strike, collide etc; any minor collision or blow.

(3) In slang, a brief intimacy between two people, usually with a suggestion of infidelity; often modified with the adjective quick and only ever used where the act is consensual (less common in North America).

(4) In sports medicine, a condition of sudden, severe fatigue in an endurance sports event, typically induced by glycogen depletion (also in the phrase “hit the wall”).

(5) In snowboarding, to hit something with the front of the board, especially in midair.

(6) In zoology, an animal call resembling "bonk" (such as the call of the pobblebonk (any of various Australian frogs of the genus Limnodynastes)).

1931: A creation of Modern English, the origin remains uncertain but most suspect it was likely imitative of sounds of impact (like bong, bump, bounce or bang) and thus onomatopoetic.  As a slang term for an affaire de coeur, use was first noted in 1975 and has always, depending on context, carried an implication of something illicit or quickly done; purely recreational though always consensual.  The use in sports medicine describing the condition of glycogen depletion references a metaphorical impact as in “hitting the wall”, the first known use in 1952 in endurance sports medicine.  Bonkee, as a descriptor for a "woman of loose virtue", appears to have been a 2014 creation which never caught on which is a shame because there are all sorts of cases where the companion terms "bonker" & "bonkee" might have been handy .  The form "bonkers", referring to the deranged, dated from circa 1957 and was apparently unrelated to the earlier naval slang for “drunk” but alluded rather to what could be the the consequence of a “bonk on the head”.  The third-person singular simple present is bonks, the present participle, bonking and the simple past and past participle, bonked.  Bonk & bonking are nouns & verbs, bonker is a noun, bonky is an adjective, bonked is a verb and bonkers is a noun & adjective; the noun plural is bonks.

Bonkers: "Last Call" 2023 Dodge Challenger SRT Demon 170 in "plum crazy" (one of the retro colors which reprised those used by Chrysler in the "psychedelic era" of the late 1960s).  3300 were produced, many of which are now being advertised for sale at well above the RRP (recommended retail price).

The Demon 170 was released as part of Dodge’s “Last Call” programme which marked the end of the corporation's run of high-performance V8s, a tradition dating from the early 1950s.  Offered in a bewildering array of configurations in a process which was something like Nellie Melba's (1861-1931) "farewell" tours, the SRT Demon 170 was the most bonkers of a generally bonkers lot.  Rated at 1,025 hp (764 kW), the factory claimed it could accelerate from 0-60 mph (100 km/h) in 1.66 seconds with an elapsed time in the standing ¼ mile (400 metres for those who insist) of 8.91 seconds (terminal speed 151 mph (243 km/h)), setting the mark as the worlds quickest ever standard production car, a reasonable achievement for something weighing 4275 lbs (1939 kg).  By world standards it was also very cheap and on the basis of cost-breakdown vs performance, there was nothing like it on the planet.  In British (and other English-speaking regions although rare in the US) use, "bonkers" can and often is used in an entirely non-pejorative way to suggest something or someone verging on the irrational but in some way astonishing, admirable or inspiring.  Road cars with 600+ horsepower V8 & V12 engines are of course bonkers but we'll miss them when they're gone and it would seem the end is nigh.  Greta Thunberg (b 2003) has expressed no regret at the extinction of this species.  

Bonking Boris

Hand-turned fish bonkers on sale in Jaffray, a village in the south-western Canadian province of British Columbia (left) and the front page of The Sun (7 September 2018; right), a tabloid which rarely lets an alliterative opportunity pass by.  

The noun bonker is (1) a short, blunt hardwood club used by fishers efficiently to dispatch (ie bonking them dead) just-caught fish and (2) according to the Murdoch tabloid The Sun, the adulterous Boris Johnson (b 1964; UK prime-minister 2019-2022).  A bonk by Boris or the club and a not wholly dissimilar outcome ensues; a one-time employer called bonking Boris "ineffably duplicitous" and the estranged (now former) Mrs Johnson presumably agreed.  At the time, the former prime minister had "a bit of previous" in extra-marital bonking and when this one was announced, it was with an alliterative flourish not seen since the headline “BORIS BACKS BREXIT”.  His resignation from Theresa May's (Lady May, b 1956; UK prime-minister 2016-2019) government was unrelated to bonking (as far as is known) and came, in July 2018, three days after a cabinet meeting at Chequers (the prime-minister's country house), where agreement was reached on Mrs May’s Brexit strategy, a document compromised by the need to make a nonsensical impossibility look like good policy.  That can be done but it requires rare skill to be in Downing Street and it's been some time since that could be said. 

Freed by his resignation from the burdens of the Foreign Office, bonking Boris was clearly unconcerned at rumors his opponents in the party were assembling a dossier of some four-thousand words detailing his cheating ways, fondness for cocaine and failings of character and turned his attention to a campaign for the Tory leadership.  As wonderfully unpredictable as the politics of the time were fluid, nobody was quite sure whether he’d go into the inevitable election or second referendum as "leave" or "remain"; it would depend on this and that.  In the end, he remained a leaver and things worked out well, his election victory meaning that for one, brief, shining moment, the three world leaders with the best hair all had nuclear weapons at the same time.

Donald Trump (b 1946; US president 2017-2021; left), Boris Johnson (centre) and Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011; right).

Some hairstyles are more amenable than others to a quick post-bonk rectification.  Kim Jong-un's cut is probably quite good and would bounce back from a bonk with little more than a run-through with the fingers.  Donald Trump however would likely need both tools and product for a post-bonk fix.  Mr Trump usually appears well-fixed unless disturbed by breezes any higher than 2 on the Beaufort scale and even a perfunctory bonk is probably equal to at least 4 on the scale so it would have been interesting to see if Stormy Daniels (Stephanie Gregory, b 1979) lived up to her (stage) name although Mr Trump has denied that bonk ever happened.  Mr Johnson's hair so often looks post-bonk that either his conquests are more frequent even than has been rumored or he asks for a JBF with every cut.  One UK publication suggested exactly that, hinting his instruction was "not one hair in place".  That has the advantage for Mr Johnson in that it's a style essentially the same pre-bonk, mid-bonk and post-bonk and thus pricelessly ambiguous in that merely by looking at him, one couldn't tell if he was going to or coming from a bonk although, one assumes, whichever it was, a bonk would never be far from his mind.  Whatever the criticisms of Mr Johnson's premiership (and there were a few), it's to his eternal credit that in his resignation honours list Ms Kelly Jo Dodge (for 27 years the parliamentary hairdresser) was created a Member of the Most Excellent Order of the British Empire (MBE) for "parliamentary service".  In those decades, she can have faced few challenges more onerous than Mr Johnson’s hair yet never once failed to make it an extraordinary example in the (actually technically difficult) “not one hair in place” style.  Few honours have been so well deserved.

A bandaged Lindsay Lohan waking dazed and confused after a bonk on the head in Falling for Christmas (2022; left) and on the move in Irish Wish (2024).   

In May 2021, Netflix & Lindsay Lohan executed what became a three movie deal, the first (Falling for Christmas) released in the northern winter of 2022, just in time for the season.  She played the protagonist, a pampered heiress who loses her memory after suffering a bonk on the head, waking up to a new life.  The second Netflix release opens in February 2024 and in Irish Wish, the plotline involves her spontaneously wishing for something, subsequently waking up to find the wish granted.  So it’s a variation on the theme of the first (though without the bonk on the head), the twist being in the theme of “be careful what you wish for”.

Bonking Barnaby and the bonk ban

Malcolm Turnbull (b 1954; prime-minister of Australia 2015-2018), a student of etymology, was as fond as those at The Sun of alliteration and when writing his memoir (A Bigger Picture (2020)) he included a short chapter entitled "Barnaby and the bonk ban".  As well as the events which lent the text it's title, the chapter was memorable for his inclusion of perhaps the most vivid thumbnail sketch of Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022) yet penned:

"Barnaby is a complex, intense, furious personality.  Red-faced, in full flight he gives the impression he's about to explode.  He's highly intelligent, often good-humoured but also has a dark and almost menacing side - not unlike Abbott (Tony Abbott (b 1957; prime-minister of Australia 2013-2015)) - that seems to indicate he wrestles with inner troubles and torments."

Mr Turnbull and Mr Joyce in parliament, House of Representatives, Canberra, ACT.

The substantive matter was the revelation in mid-2017 the press had become aware Mr Joyce (a married man with four daughters) was (1) conducting an affair with a member of his staff and (2) that the young lady was with child.  Mr Turnbull recorded that when asked, Mr Joyce denied both "rumors", which does sound like a lie but in the narrow sense may have verged on "the not wholly implausible" on the basis that, as he pointed out in a later television interview, the question of paternity was at the time “...a bit of a grey area”.  Mr Joyce and his mistress later married and now have two children so all's well that end's well (at least for them) and Mr Turnbull didn't so much shut the gate after the horse had bolted as install inter-connecting doors in the stables.  His amendments to the Australian Ministerial Code of Conduct (an accommodating document very much in the spirit of Lord Castlereagh's (1769–1822; UK foreign secretary 1812-1822) critique of the Holy Alliance) banned ministers from bonking their staff which sounds uncontroversial but was silent on them bonking the staff of the minister in the office down the corridor.  So the net effect was probably positive in that staff having affairs with their ministerial boss would gain experience through cross-exposure to other portfolio areas although there's the obvious moral hazard in that they might be tempted to conduct trysts just to engineer a transfer in the hope of career advancement.  There are worse reasons for having an affair and a bonk for a new job seems a small price to pay.  It's been done before.

Bonk in progress, California State Polytechnic University, Humboldt, May 2024.

Bonk in the sense of “a blow to the head” was in May 2024 adapted for use in memes and other publicity tools associated with the protests staged on US university campuses demanding the institutions’ administrators divest from economic and other engagements with Israel and in support of the cause of the Palestinian people for (variously) statehood or freedom from repression.  The scenes were reminiscent of Vietnam War era protests but the emergence of the water-cooler jug as an icon of political dissent was an unexpected moment of levity.  The origin of that was a viral (“bonk, bonk, bonk”) video clip showing an unidentified protester at the California State Polytechnic University, Humboldt bonking a uniformed law-enforcement officer on the helmet with an empty jug (believed to be a capacity of 5 US gallons (19 litres)) of the type which sits atop a water cooler.

Although recalling the similarly alliterative “burn baby, burn” slogan chanted during the Watts race riots in Los Angeles in August 1965, the “bonk, bonk, bonk” was more a symbol of, if not exactly passive resistance, then certainly something short of actual violence although in a legal sense it may have been an instance of both assault and battery as well as other offences.  Around the country, stickers, posters and the inevitable T-shirts appeared within hours with slogans such as “Water Jug, Come and Take It” and “This machine bonks fascists”, a reference to the “THIS MACHINE KILLS FASCISTS” message the left-wing US folk singer Woody Guthrie (1912–1967) wrote on his guitars.  Whether the water jug (bonking and not) will endure as a symbol of protest will depend, like many aspects of language, on whether it gains a sustained critical mass of use.

The "bonk, bonk, bonk" viral video.  In the conventional sense the production values weren't high but that very quality of authenticity accounted for its success.