Kink

Kink (pronounced kingk)

(1) A twist or curl, as in a thread, rope, wire, or hair, caused by its doubling or bending upon itself.

(2) An expression describing muscular stiffness or soreness, as in the neck or back.

(3) A flaw or imperfection likely to hinder the successful operation of something, as a machine or plan (differs from a bug in that kinks or their consequences tend immediately to be obvious.

(4) A mental twist; notion; whim or crotchet (and in a pejorative sense an unreasonable notion; a crotchet; a whim; a caprice).

(5) In slang, a flaw or idiosyncrasy of personality; a quirk.

(6) In slang, bizarre or unconventional sexual preferences or behavior; a sexual deviation (Defined as paraphilia; the parameters of paraphilic disorders (essentially that which is non-normophilic) are (to some extent) defined in the American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders (DSM) but the public perception of kinkiness varies greatly between and within cultures).

(7) In slang, a person characterized by such preferences or behavior (a kinkster).

(8) To form, or cause to form, a kink or kinks, as a rope or hairstyle or a physical construction like a road; to be formed into a kink or twist.

(9) Loudly to laugh; to gasp for breath as in a severe fit of coughing (now rare except in Scotland).

(10) In mathematics, a positive 1-soliton solution to the sine-Gordon equation.

(11) In the jargon of US railroad maintenance as “sun kink”, a buckle in railroad track caused by extremely hot weather, which could cause a derailment.

(12) In fandom slang as “kinkmeme” (or kink meme), an online space in which requests for fan fiction (generally involving a specific kink) are posted and fulfilled anonymously (a subset thus of the anon meme).

(13) In slang, as “kinkshame” (or kink-shame or kink shame), to mock, shame, or condemn someone (a kinker) for their sexual preferences or interests and fetishes.

1670–1680: From the Middle English kink (knot-like contraction or short twist in a rope, thread, hair, etc (originally a nautical term), from the Dutch kink (a twist or curl in a rope), from the Proto-Germanic kenk- & keng- (to bend, turn), from the primitive Indo-European geng- (to turn, wind, braid, weave) and related to the Middle Low German kinke (spiral screw, coil), the Old Norse kikna (to nod; to bend backwards, to sink at the knee as if under a burden”) and the , the Icelandic kengur (a bend or bight; a metal crook).  It’s thought related to the modern kick although a LCA (last common ancestor) has never been identified.  The intransitive verb emerged in the 1690s and the transitive by the early nineteenth century.  The adjective kinky (at that stage of physical objects such as ropes or hair full of kinks, twisted, curly) seems first to have been used in 1844.  Words with a similar meaning (depending on context) include crimp, wrinkle, flaw, hitch, imperfection, quirk, coil, corkscrew, crinkle, curl, curve, entanglement, frizz, knot, loop, tangle, cramp, crick, pain &, pang  The sense familiar in Scottish dialect use (a convulsive fit of coughing or laughter; a sonorous in-draft of breath; a whoop; a gasp of breath caused by laughing, coughing, or crying) was from the From Middle English kinken & kynken, from the Old English cincian (attested in cincung), from the Proto-West Germanic kinkōn, from the Proto-Germanic kinkōną (to laugh), from the primitive Indo-European gang- (to mock, jeer, deride), and related to the Old English canc (jeering, scorn, derision).  It was cognate with the Dutch kinken (to kink, to cough).  One curious adaptation was the (nineteenth century) use of kinker to describe circus performers, presumably on the basis of their antics (kinky in the sense of a twisted rope).  Kink is a noun & verb, kinkily is an adverb, kinkiness & kinkster are nouns, kinked is a verb & adjective, kinky and kinkier & kinkiest are adjectives; the noun plural is kinks.

Bridge with kinks: Lucky knot bridge, Dragon King Harbor River in Meixi Lake District, Changsha, China.  The design was inspired by the Möbius strip although the structure is not a true representation of a Möbius.

Kink appears to have entered English in the 1670 from the interaction of English & Dutch seafarers, the first use of the word being nautical, French & Swedish gaining it in a similar manner.  The figurative sense of “an odd notion, a mental twist, a whim, a capricious act” was first noted in US English in 1803 in the writings of Thomas Jefferson (1743–1826; US president 1801-1809).  It was one of the many terms applied to those thought “sexually abnormal”, the first use noted in 1965 (although the adjective kinky had been so applied as early as 1959) and the use as a synonym for “a sexual perversion, fetish, paraphilia” is thought by most etymologists to have become established by the early 1970s.  The slang, “kinkshame” means “to mock, shame, or condemn someone (a kinker) for their sexual preferences or interests and fetishes”.  Dictionaries tend to list this only as a verb (ie that directed at another) but it would seem also a noun (a feeling of kinkshame), such as that suffered by Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983; the last King of Italy (May-June 1946) who, while heir to the throne (and styled Prince of Piedmont), Benito Mussolini’s (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) secret police discovered the prince was a sincere and committed Roman Catholic but one unable to resist his “satanic homosexual urges” and his biographer agreed, noting he was “forever rushing between chapel and brothel, confessional and steam bath” often spending hours “praying for divine forgiveness.”  He would seem to have been suffering kinkshame.

Lindsay Lohan with kinked hair. 

Car & Driver "Fastest American Car" comparison test, April 1976.

Although the word kinky had by then for some time been in use to describe sexual proclivities beyond the conventional, in April 1976, when the US magazine Car & Driver chose to describe a pickup truck as “kinky” it was using the word in the sense of “quirky” or “different” and certainly not in a pejorative way.  While testing the Chevrolet C-10 stepside in an attempt to find the fastest American built “car”, the editors noted that although the phenomenon hadn’t yet travelled south of the Mason-Dixon Line. “…kinky pickups are one of the more recent West Coast fascinations”.  A few years earlier, it would have been absurd to include a pickup in a top-speed contest but the universe had shifted and ownership of the fast machines of the pre-1972 muscle car era had been rendered unviable by the insurance industry before being banned by the legislators; by earlier standards, high-performance was no longer high.  Some demand for speed however remained and General Motors found a loophole: the Environmental Protection Agency (EPA) didn't impose power-sapping exhaust emission controls on anything with a gross vehicle weight rating above 6000 pounds (2722 kg).  Thus emerged Chevrolet’s combination of the heavy-duty version of the pickup chassis (F44) with the big-block, 454 cubic inch (7.4 litre) V8, a detuned edition of the engine which half-a-decade earlier had been offered with the highest horsepower rating Detroit had ever advertised.  Power and brutish enjoyment was ensured but the aerodynamic qualities of the pickup were such it could manage only third place in Car & Driver’s comparison, its 110 (177 km/h) mph terminal velocity shaded by the Pontiac Trans Am (118/190) and the Chevrolet Corvette (125/201) which won although both were slow compared with what recently had been possible.  The pickup did however outrun Ford’s Mustang Mach 1 which certainly looked the part but on the road prove anaemic, 106 mph (171 km/h) as fast as it could be persuaded to go.  In second place was what turned out to be the surprise package, the anonymous-looking Dodge Dart which, although an old design, was powered by a version of the Chrysler LA small-block V8, one of the best of the era and clean enough to eschew the crippling catalysts most engines by then required.  Its 122 mph (196 km/h) capability made it the fastest American sedan.

Kinkiness in 1964-1965: 1965 Dodge D-100 with 426 Street Wedge V8.

The kinky pickup however was a harbinger for where went California, so followed the other forty-nine.  The idea of the kinky pickup had actually begun in 1964 when Chrysler quietly slipped onto the market a high-performance version of the the Dodge D-100, a handful of which were built with a 413 (6.7 litre) cubic inch V8 but with little more fanfare, the 426 cubic inch (7.0 litre) Street Wedge was next year added to the option list which, rated at 365 horsepower, was more than twice as powerful than the competition.  Ahead of its time, the big-power in the engines D-100 were withdrawn in 1966 but it was the first muscle truck and the spiritual ancestor of the C-10 which a decade later was faster than the hottest Mustang, damning with faint praise though that may be.  The trend continued and Dodge early in the twenty-first century even sold pickups with an 8.3 litre (505 cubic inch) V10.  The market has since shown little sign of losing its desire for fast pickups and the new generation of electric vehicles are likely to be faster still.

The adjective "kinky" evolved from the noun but a linguistic quirk in the use of "kink" in the gay community is that etymologically it was technically a back-formation from "kinky".  In the LGBTQQIAAOP movement, there is some debate whether displays of “kink” should be part of “pride” events such as public parade.  One faction thinks group rights trumps all else and there can be no acceptance of any restrictions whereas others think the PR cost too high.  One implication of some representation of this or that kink being included in pride parades is that presumably, once accepted as a part of public displays, it ceases to be kinky and becomes just another place on the spectrum of normality.  Kinky stuff surely should be what goes on only behind closed doors; if in public it can even be hinted at, it can't truly be a kink because a kink must be something seriously twisted.  

1962 BMW 1500 (Neue Klasse, left), the incomparable BMW E9 (1968-1975, centre) and the 2023 BMW 760i (G70, right).

In automotive design, the “Hoffmeister kink” is a description of the forward bend in the C-pillar (D-pillar on SUVs) and it’s associated almost exclusively with BMW (Bayerische Motoren Werke) vehicles built since the early 1960s.  The kink is named after Wilhelm Hofmeister (1912–1978; BMW design chief 1955-1970) who used the shape on the BMW Neue Klasse (The “New Class”, the first of which was the 1500 and in various forms was in production 1962-1975) although the BMW 3200 CS (1962-1965) which was styled by Giuseppe "Nuccio" Bertone (1914–1997) also used the lines and design work of both began in 1960.  However, the name “Hoffmeister kink” stuck not because it originated with Herr Hoffmeister but because BMW has for decades stuck with it so it’s now perhaps even more of an identifiable motif than their double-kidney grill which is now less recognizable than once it was.  Herr Hoffmeister deserves to be remembered because the work of his successors has been notably less impressive and none has matched his E9 coupe (1968-1975) although it gained as much infamy for its propensity to rust as admiration for its elegance.

Some of the pre-Hoffmeister kinks:  1949 Buick Super Sedanette (left), 1951 Kaiser Deluxe (centre) and 1958 Lancia Flaminia Sport Zagato (right).

Bubbletop

Bubbletop (pronounced buhb-uhl-top)

(1) In aircraft design, a design of pilot’s canopy (originally military slang for what designers dubbed the “bubble canopy”, a Perspex molding which afforded exceptional outward visibility).

(2) An automobile using a transparent structure over the passenger compartment, replacing the usual combination of roof & windows.

(3) A descriptor of certain automobiles of the early 1960s, based on the shape rather than the method of construction, the conventional metal and glass used.

1940s: The construct was bubble +‎ top.  Bubble dates from the late fourteenth century and was from the Middle English noun bobel which may have been from the Middle Dutch bubbel & bobbel and/or the Low German bubbel (bubble) and Middle Low German verb bubbele, all thought to be of echoic origin.  The related forms include the Swedish bubbla (bubble), the Danish boble (bubble) and the Dutch bobble.  Top pre-dates 1000 and was from the Middle English top, toppe & tope (top, highest part; summit; crest; tassel, tuft; (spinning) top, ball; a tuft or ball at the highest point of anything), and the Old English top & toppa (top, summit, tuft of hair), from the Proto-West Germanic topp, from the Proto-Germanic tuppaz (braid, pigtail, end), of unknown origin.  It was cognate with the Old Norse toppr (top), the Scots tap (top), the North Frisian top, tap & tup (top), the Saterland Frisian Top (top), the West Frisian top (top), the Dutch top (top, summit, peak), the Low German Topp (top), the German Zopf (braid, pigtail, plait, top), the Swedish topp (top, peak, summit, tip) and the Icelandic toppur (top).  Alternative forms are common; bubble-top in automotive & aeronautical engineering and bubble top in fashion.  Bubbletop is a noun and bubbletopped is an adjective; the noun plural is bubbletops.

Evolution of the Mustang's bubbletop: P-51C (top), P-51 III (centre) and P-51D (bottom).

“Bubbletop” began as World War II (1939-1945) era military slang for officially was described as the “bubble canopy”, the transparent structure sitting atop the cockpit of fighter aircraft, the advantages being (1) superior visibility (the purest interpretation of the design affording an unobstructed, 360° field-of-view, (2) improved aerodynamics, (3) easier cockpit ingress & egress (of some significance to pilots force to parachute and (4), weight reduction (in some cases).  Bubbletops had been seen on drawing boards in the early days of aviation and some were built during World War I (1914-1918) but it was the advent of Perspex and the development of industrial techniques suitable for the creation of large, variably-curved moldings which made mass-production practical.  The best known early implementations were those added to existing air-frames including the Supermarine Spitfire, Republic P-47 Thunderbolt and North American P-51 Mustang.  By 1943, the concept had become the default choice for fighter aircraft and the technology was applied also to similar apparatuses used elsewhere on the fuselage where they were styled usually as “blisters”.  In the post war years it extended to other types, most dramatically in the Bell 47 helicopter where the cabin was almost spherical, some 70% of the structure clear Perspex.

The enormous and rapid advances in wartime aeronautics profoundly influenced designers in many fields and nowhere was that more obvious than in the cars which began to appear in the US during the 1950s.  Elements drawn variously from aeronautics and ballistics did appear in the first generation of genuinely new post-war models (most of what was offered between 1945-1948 being barely revised versions of the 1942 lines) but it was in the next decade the designers were able to embrace the jet-age (a phrase which before it referred to the mass-market jet-airline travel made possible by the Boeing 707 (which entered commercial service in 1958) was an allusion to military aircraft, machines which during the Cold War were a frequent sight in popular culture).  On motif the designers couldn’t resist was the bubble canopy, something which never caught on in mass-production although Perspex roofed cars were briefly offered before word of their unsuitability for use in direct sunlight became legion.

GM Firebird XP-21 (Firebird I, 1953).

Not content with borrowing the odd element from aircraft, the General Motors (GM) team decided the best way to test which concepts were adaptable from sky to road was to “put wheels on a jet aircraft” and although they didn’t do that literally, by 1953 when Firebird XP-21 was first displayed, it certainly looked as though it was exactly that.  Its other novelty was it was powered by a gas turbine engine, the first time a major manufacturer in the US had built such a thing although a number of inventors had produced their own one-offs.  When the XP-21 (re-named Firebird I for the show circuit) made its debut, some in the press referred to it as a “prototype” but GM never envisaged it as the basis for a production car, being impractical for any purpose other than component-testing; it should thus be thought of as a “test-bed”.  The bubble canopy looked as if it could have come from a US Air Force (UFAF) fighter jet and would have contributed to the aerodynamically efficiency, the 370 hp (280 kW), fibreglass-bodied Firebird I said to be capable of achieving 200 mph (320 km/h) although it’s believed this number came from slide-rule calculations and was never tested.  Despite that, in its day the Firebird II made quite a splash and a depiction of it sits atop the trophy (named after the car’s designer, Harley Earl (1893–1969), the long time head of GM’s styling studio) presented each year to the winner of NASCAR’s (National Association for Stock Car Auto Racing) premiere event, the Daytona 500.

GM Firebird II (1956).

Compared with its predecessor, the Firebird II (1956), rendered this time in titanium was almost restrained, the Perspex canopy a multi-part structure over a passenger compartment designed to seat “a family of four”.  The family might have chosen to drive mostly in darkness because the heat build-up under the midday sun would have tested the “individually-controlled air conditioning”, a system upon which comfort depended because the Perspex sections were fixed; there were no opening “windows”.  Still, even if hot, the family would have got places fast because the same 200 mph capability was claimed.

GM Firebird III (1958).

The Firebird III was displayed at the 1958 Motorama and although GM never built any car quite like it, within a season, elements of it did begin to appear on regular production models in showrooms (notably the rear skegs which Cadillac used for a couple of years) and some of its features are today standard equipment in even quite modest vehicles.  The striking “double bubbletop” never made the assembly lines although some race cars have at least partially implemented the concept.  What proved more of a harbinger was the specification, the Firebird III fitted with anti-lock brakes, cruise control, air conditioning, an automated “accident avoidance system” and instead of a steering wheel, the driver controlled the thing with a joystick, installed in a centrally-mounted “Unicontrol & Instrument Panel”.  All these were analogue-era electro-mechanical devices too bulky, fragile or expensive for mass production, wider adoption in the decades to come made possible by integrated circuits (IC) and micro-processors.

1959 Cadillac Cyclone (XP-74).

Borrowing from the Firebird II, Cadillac also used a bubble top for the Cyclone (XP-74) concept car which in 1959 toured the show circuit.  Although it was powered by the corporation’s standard 390 cubic inch (6.5 litre) V8, there was some adventurous engineering including a rear-mounted automatic transaxle and independent rear suspension (using swing axles, something not as bad as it sounds given the grip of tyres at the time) but few dwelt long on such things, their attention grabbed by features such as the bubble top (this time silver coated for UV (ultra violet) protection) which opened automatically in conjunction with the electrically operated sliding doors.  The Perspex bubble canopies from fighter aircraft never caught on for road or race cars but so aerodynamically efficient was the shape it found several niches.

1953 Ferrari F166MM Spider by Vignale (left) and 1968 MGCGT (centre & right).

Bubbles often appeared atop the hood (bonnet) to provide clearance for components inconveniently tall.  Most were centrally located (there was the occasional symmetrical pair) but the when BMH (British Motor Holdings, the old  BMC (British Motor Corporation) shoehorned their big, heavy straight-six into the MGB (1963-1980), it wouldn’t fit under the bonnet, the problem not the cylinder head but the tall radiator so the usual solution of a “bonnet bulge” was used.  However, for that to clear the forward carburetor, the bulge would have been absurdly high so a small bubble (and usually, ones this size are referred to as "blisters") was added.  It probably annoyed some there wasn’t a matching (fake) one on the other side but it’s part of the MGC’s charm, a quality which for years most found elusive although it’s now more appreciated.  For MGC owners wish to shed some weight or for MGB owners who like the look, the “bonnet with bubble” is now available in fibreglass.

The winning Ford GT40 Mark IV (J-Car) with bubble to the right, Le Mans 1967 (left) and the after-market (for replicas) “Gurney Bubble” (right).

US racing driver Dan Gurney (1931–2018) stood 6' 4" (1.9 m) tall which could be accommodated in most sports cars and certainly on Formula One but when he came to drive the Ford GT40 Mark IV it was found he simply didn’t fit when wearing his crash helmet.  The original GT40 (1964) gained its name from the height being 40 inches (1016 mm) but Mark IV (the “J-Car”, 1966) was lower still at 39.4 inches (1,000 mm).  Gurney was the tallest ever to drive the GT40 and the solution sounds brutish but fix was effected elegantly, a “bubble added to the roof to clear the helmet.  Gurney and AJ Foyt (b 1935) drove the GT40 to victory in the 1967 Le Mans 24-hour endurance classic and the protrusion clearly didn’t compromise straight-line speed, the pair clocked at 213 mph (343 km’h), on the famous 3.6-mile Mulsanne Straight (which was a uninterrupted 3.6 miles (5.8 km) until the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation and world sport’s dopiest regulatory body) imposed two “chicanes”),  Known ever since as the “Gurney Bubble”, such is the appeal that they’re now available for any GT40 replica: Like the AC Shelby Cobra, the GT40 “reproduction” industry is active and there are many times more of these than there are survivors of 105 originals.

Ferrari 250 GT “Tour de France” LWB Berlinettas by Zagato: The “double bubble” roof (left), the Hofmeister kink (centre) and the famous “Z” kink, (right).

The Italian coachbuilding house Zagato was founded in 1919 by Ugo Zagato (1890-1968) and since the early post-war years, their designs have sometimes been polarizing (the phrase “acquired taste” sometimes seen), their angularity often contrasted with the lines of other, notably Pinninfarina and Bertone but unlike many which have over the years folded, Zagato remains active still.  One Zagato design never criticized was his run in 1956 of five Ferrari 250 GT “Tour de France” LWB Berlinettas, memorable also for introducing the signature “Zagato double-bubble roof.  The roof was practical in that it better accommodated taller occupants but it really was a visual trick and a variation on the trick Mercedes-Benz used on the “Pagoda” (W113; 230, 250 & 280 SL; 1963-1971) which they explained by saying “We didn’t lower the roof, we rained the windows”.  The other famous feature (which appeared on only one) was the fetching “Z” shape on the rear pillar, replacing the “Hofmeister kink” used on some others.

1962 Chevrolet Impala “bubbletop” Sport Coupe (left), 1963 Ford Consul Capri (centre) and 1972 BMW 3.0CS (E9, right).

The 1959 Chevrolet quickly came to be nicknamed “bubbletop” and the style spread, both within GM and beyond.  The “bubbletop” reference was to the canopy on aircraft like the P-51D Mustang but was an allusion to the shape, not the materials used; on cars things were done in traditional glass and metal.  Across the Atlantic, Ford in the UK applied the idea to their Consul Capri (1961-1964), a two-door hardtop which the company wanted to be thought of as a “co-respondent's” car (ie the sort of rakish design which would appeal to the sort of chap who slept with other men’s wives, later to be named as “co-respondent” in divorce proceedings).  The Capri was a marketplace failure and the styling was at the time much criticized but it’s now valued as a period piece.  Chevrolet abandoned the look on the full-size cars after 1963 but it was revived for the second series Corvair (1965-1969).  A fine implementation was achieved in the roofline of the BMW E9 (1968-1975) which remains the company’s finest hour.

The bubble shirt and bubble tops.

The bubble skirt (worn by Lindsay Lohan (centre)) is one of those garments which seems never to quite die, although there are many who wish it would.  Once (or for an unfortunate generation, twice) every fashion cycle (typically 10-12 years), the industry does one of its "pushes" and bubble skirts show up in the high street, encouraged sometimes by the odd catwalk appearance; it will happen again.  While the dreaded bubble skirt is easily identifiable, the “bubble top” is less defined but there seem to be two variations: (1) a top with a “bubble skirt-like” appendage gathering unhappily just above the hips (left) and (2) a kind of “boob tube” which, instead of being tightly fitted is topped with an additional layer of material, loosely gathered.  The advantages of the latter (which may be thought of as a “boob bubble”) are it can (1) without any additional devices create the illusion of a fuller bust and (2) allow a strapless bra to be worn, something visually difficult with most boob tubes because the underwear’s outline is obvious under the tight material.

Flute

Flute (pronounced floot)

(1) A woodwind instrument consisting of a tube with a row of finger-holes (or keys) which produce sound through vibrations caused by air blown across the edge of the holes, often tuned by plugging one or more holes with a finger; the Western concert flute, a transverse side-blown flute of European origin (in colloquial use, a recorder, also a woodwind instrument).

(2) An organ stop with wide flue pipes, having a flutelike tone.

(3) In architecture or engineering (particularly the manufacture of firearms), a semi-cylindrical vertical channel, groove or furrow, as on the shaft of a column, in a pillar, in plaited cloth, or in a rifle barrel to cut down the weight.

(4) Any groove or furrow, as in a ruffle of cloth or on a piecrust.

(5) One of the helical grooves of a twist drill.

(6) A slender, footed wineglass with a tall, conical bowl.

(7) A similar stemmed glass, used especially for champagne and often styled as "champagne flute".

(8) In steel fabrication, to kink or break in bending.

(9) In various fields of design, to form longitudinal flutes or furrows.

(10) A long bread roll of French origin; a baguette.

(11) A shuttle in weaving, tapestry etc.

(12) To play on a flute; to make or utter a flutelike sound. 

(13) To form flutes or channels in (as in a column, a ruffle etc); to cut a semi-cylindrical vertical groove in (as in a pillar etc).

1350-1400; From the Middle English floute, floute & flote, from the Middle French flaüte, flahute & fleüte, from the twelfth century Old French flaute (musical), from the Old Provençal flaüt (thought an alteration of flaujol or flauja) of uncertain origin but may be either (1) a blend of the Provencal flaut or  flaujol (flageolet) + laut (lute) or (2) from the Classical Latin flātus (blowing), from flāre (to blow) although there is support among etymologists for the notion of it being a doublet of flauta & fluyt.  In other languages, the variations include the Irish fliúit and the Welsh ffliwt.  The form in Vulgar Latin has been cited as flabeolum but evidence is scant and all forms are thought imitative of the Classical Latin flāre and other Germanic words (eg flöte) are borrowings from French.

Portrait of Archduchess Maria Antonia of Austria (later Queen Marie Antoinette of France (1774-1792)), circa 1768, oil on canvas by Martin van Meytens  (1695–1770).

Fluted & fluting both date from the 1610 while the verb (in the sense of "to play upon a flute" emerged in the late fourteenth century and the use to describe grooves in engineering dates from 1570s and the tall, slender wine glass, almost a century later although the term "champagne flute" didn't enter popular use until the 1950s.  The champagne flute is preferred by many to the coupé (or saucer) even though it lacks the (since unfortunately debunked) legend that the shape of the latter was modelled on Marie Antoinette’s (1754-1793) left breast.  Elegant though it is, the advantages of the flute are entirely functional, the design providing for less spillage than a coupé, something which comes to be more valued as lunch progresses and the slender, tapered shape is claimed better to preserved the integrity of the bubbles, the smaller surface area and thus reduced oxygen-to-wine ratio maintaining the aroma and taste.

Grand Cru's guide to the shape of champagne glasses.

Among musical instruments, there are a dozen or more distinct types of flute.  Early French flutes differed greatly from modern instruments in having a separate mouthpiece and were called flûte-a-bec (literally "flute with a beak").  The ancient devices were played directly, blown straight through a mouthpiece but held away from the player's mouth, the modern transverse (or "German") flute not appearing until the eighteenth century and the familiar modern design and key system of the concert flute were perfected 1834 by Bavarian court musician & virtuoso flautist Theobald Boehm (1794–1881), the fingering system known to this day as "Boehm system").  The architectural sense of "furrow in a pillar" dates from the mid-seventeenth century and was derived from the vague resemblance to the inside of a flute split down the middle.  One imaginative linguistic adoption was the use (apparently only in US) of "playing the skin flute" in the 1940s to describe gay men (the metaphor of flute based on male anatomy) on the basis of those who play the skin flute.  Use shifted to fruit, either by virtue of use at the time being almost exclusively oral rather than written (linguistically, that’s classified as an example of an imperfect echoic) or because "fruit" was then in use as a gay slur.  Flute is a noun, fluting is a noun, verb & adjective and fluted is a verb & adjective; the noun plural is flutes.

Fluted grill on 1972 Series 1, 4.2 Litre Daimler Sovereign.

In British use, one who plays the flute is a flautist (pronounced flaw-tist (U) or flou-tist (non-U)), from the Italian flautista, the construct being flauto (flute) +‎ -ista.  The -ist suffix was from the Middle English -ist & -iste, from the Old French -iste and the Latin -ista, from the Ancient Greek -ιστής (-istḗs), from -ίζω (-ízō) (the -ize & -ise verbal suffix) and -τής (-tḗs) (the agent-noun suffix).  It was added to nouns to denote various senses of association such as (1) a person who studies or practices a particular discipline, (2), one who uses a device of some kind, (3) one who engages in a particular type of activity, (4) one who suffers from a specific condition or syndrome, (5) one who subscribes to a particular theological doctrine or religious denomination, (6) one who has a certain ideology or set of beliefs, (7) one who owns or manages something and (8), a person who holds very particular views (often applied to those thought most offensive).  The alternative forms are the unimaginative (though descriptive) flute-player and the clumsy pair fluter although the odd historian or music critic will use aulete, from the Ancient Greek αὐλητής (aulētḗs), from αὐλέω (auléō) (I play the flute), from αὐλός (aulós) (flute).  The spelling flutist is preferred in the US and it's actually an old form, dating from circa 1600 and probably from the French flûtiste and it replaced the early thirteenth century Middle English flouter (from the Old French flauteor).

Daimler, the fluted grill and US trademark law

1972 Daimler Double-Six Vanden Plas.

Vanden Plas completed only 342 of the Series 1 (1972-1973) Daimler Double Sixes, the later Series 2 (1973-1979) & 3 (1979-1992) being more numerous.  The flutes atop the grill date from the early twentieth-century and were originally a functional addition to the radiator to assist heat-dissipation but later became a mere styling embellishment.  Although some sources claim there were 351 of the Series 1 Double-Six Vanden Plas, the factory insists the total was 342.  British Leyland and its successor companies would continue to use the Vanden Plas name for some of the more highly-specified Daimlers but applied it also to Jaguars because in some markets the trademark to the Daimler name came to be held by Daimler-Benz AG (since 2022 Mercedes-Benz Group AG), a legacy from the earliest days of motor-car manufacturing and despite the English middle class always pronouncing the name van-dem-plarr, it's correctly pronounced van-dem-plass.

1976 Daimler Double-Six Vanden Plas two door.

The rarest Double-Six Vanden Plas was a genuine one-off, a two door built reputedly using one of the early prototypes, a regular production version contemplated but cancelled after the first was built.  Jaguar would once have called such things fixed head coupés (FHC) but labelled the XJ derivatives as "two door saloons" and always referred to them thus, presumably as a point of differentiation with the XJ-S produced at the same time.  Despite the corporate linguistic nudge, everybody seems always to have called them coupés.  Why the project was cancelled isn't known but it was a time of industrial and financial turmoil for the company and distractions, however minor, may have been thought unwelcome.  Although fully-finished, apart from the VDP-specific trim, it includes also some detail mechanical differences from the regular production two-door Double-Six although both use the distinctive fluted finish on both the grill and trunk (boot) lid trim.  The car still exists.  The two-door XJs (1975-1978) rank with the earliest versions (1961-1967) of the E-Type (XKE; 1961-1974) as the finest styling Jaguar ever achieved and were it not for the unfortunate vinyl roof (a necessity imposed by the inability of the paint of the era to cope with the slight flexing of the roof), it would visually be as close to perfect as any machine ever made.

Using one of his trademark outdoor settings, Norman Parkinson (1913-1990) photographed model Suzanne Kinnear (b 1935) adorning a Daimler SP250, wearing a Kashmoor coat and Otto Lucas beret with jewels by Cartier.  The image was published on the cover of Vogue's UK edition in November 1959.

Although Daimlers had, in small numbers, been imported into US for decades, after Jaguar purchased the company in 1960, there was renewed interest and the first model used to test the market was the small, fibreglass-bodied roadster, probably the most improbable Daimler ever and one destined to fail, doomed by (1) the quirky styling and (2) the lack of product development.  It was a shame because what made it truly unique was the hemi-headed 2.5 litre (155 cubic inch) V8 which was one of the best engines of the era and remembered still for the intoxicating exhaust note.  The SP250 was first shown to the public at the 1959 New York Motor Show and there the problems began.  Aware the small sports car was quite a departure from the luxurious but rather staid line-up Daimler had for years offered, the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast.  Unfortunately, Chrysler’s lawyers were faster still, objecting that they had already registered Dart as the name for a full-sized Dodge so Daimler needed a new name and quickly; the big Dodge would never be confused with the little Daimler but the lawyers insisted.  Imagination apparently exhausted, Daimler’s management reverted to the engineering project name and thus the car became the SP250 which was innocuous enough even for Chrysler's attorneys and it could have been worse.  Dodge had submitted their Dart proposal to Chrysler for approval and while the car found favor, the name did not and the marketing department was told to conduct research and come up with something the public would like.  From this the marketing types gleaned that “Dodge Zipp” would be popular and to be fair, dart and zip(p) do imply much the same thing but ultimately the original was preferred and Darts remained in Dodge’s lineup until 1976, for most of that time one of the corporation's best-selling and most profitable lines.  The name was revived between 2012-2016 for an unsuccessful and unlamented compact sedan.

US market 2001 Jaguar Vanden Plas (X308).  These were the only Jaguars factory-fitted with the fluted trim.

Decades later, US trademark law would again intrude on Jaguar’s Daimler business in the US.  The company had stopped selling Daimlers in the US with the coming of January 1968 when the first trickle (soon to be a flood) of safety & emission regulations came into force, the explanation being the need to devote and increasing amount of by then scarce capital to compliance, meaning the marketing budget could no longer sustain small-volume brands & models.  In Stuttgart, the Daimler-Benz lawyers took note and decided to reclaim the name, eventually managing to secure registration of the trademark and Daimlers have not since been available in the US.  However, there was still clearly demand for an up-market Jaguar and so the Sovereign name (used on Daimlers between 1966-1983) was applied to Jaguar XJ sedans which although mechanically unchanged were equipped with more elaborate appointments.  Sales were good so the US market also received some even more luxurious Vanden Plas models and during the XJ’s X308 model run (1997-2003), the VDP cars were fitted with the fluted grill and trunk-lid trim as an additional means of product differentiation.  It would be the last appearance of the flutes in North America.

Pim Fortuyn in Daimler V8, February 2002 (left), paramedics attending to him at the scene of his assassination a few paces from the Daimler, 6 May 2002 (he died at the scene) (centre) and the car when on sale, Amsterdam, June 2018 (right). 

Jaguar became aware the allure of the flutes was real when it emerged a small but profitable industry had emerged in the wake of the company also ceasing to use the Daimler name in European markets; by the 1990s, it was only in the UK, Australia & New Zealand that they were available.  However, enterprising types armed with nothing more than a list of Jaguar part-numbers had created kits containing the fluted trim parts and the Daimler-specific badges, these shipped to dealers or private buyers on the continent so Jaguar XJs could become “Daimlers”.  The company took note and re-introduced the range to Europe, Germany a particularly receptive market.  One notable owner of a real long wheelbase (LWB) Daimler V8 (X308) was the Dutch academic and politician Pim Fortuyn (1948-2002), assassinated during the 2002 national election campaign, by a left-wing environmentalist and animal rights activist.

Lindsay Lohan with stainless steel Rolex Datejust (Roman numeral dial) with fluted white gold bezel.

Manhattan

Manhattan (pronounced man-hat-n or muhn-hat-n)

(1) An island in New York City (NYC) surrounded by the Hudson, East and Harlem rivers, 13½ miles (22 km) in length, 2½ miles (4 km) across at its widest and 22¼ square miles (58 km² in area).  Technically, it’s an ellipsis of Manhattan Island and in certain legal documents, cartography and for formal purposes it’s described also as Manhattan Island.

(2) One of the five boroughs of New York City, approximately co-extensive with Manhattan Island and coterminous with New York County.  It contains the business district of NYC, its financial centre (Wall Street, the New York Stock Exchange (NYSE) etc and many of the businesses associated with the fashion industry (Fifth Avenue and environs) and the art business (Greenwich Village).

(3) A cocktail drink consisting of four parts whisky, one part vermouth, and a dash of bitters.

Pre 1600: From the earlier Manna-hata (recorded by Dutch settlers & military personnel), from its name in Unami, the Algonquian language of the Lenape people (self-described as Lenni-Lenape (the original people)) who were the island’s inhabitants when European settlement began.  The research by linguistic anthropologists was inconclusive and there are a number of suggestions regarding the origin of the name: (1) a compound of the Unami mënatay (island) or the Munsee munahan + another element; (2) because the island was once a wooded area with Hickory trees yielding timber suitable for making bows, the early forms Manna-hatta & Mannahachtink were spellings of manaháhtaan (place for gathering the wood to make bows) with the related locative form being manaháhteenk, the construct thus Munsee manah- (gather) + -aht (bow) + -aan (place); (3) the “island of many hills” & (4) “the island where we all became intoxicated”.  Manhattan is a noun & proper noun, manhattanite & manhattanese are adjectives, manhattanism is a noun, manhattanize manhattanizing & manhattanized are verbs and manhattanism & manhattanism are nouns; the noun plural is manhattans.  Modern style guides suggest that even when forms are derived from the proper noun, there’s no need for an initial capital although traditionalists will insist.

What is now New York’s borough of Manhattan was in 1626 named New Amsterdam by colonists from the Dutch Republic who, two years earlier, had established a trading post (in what is now Lower Manhattan).  After some of the squabbles and negotiations during which Europeans re-drew the maps which reflect their arrangements even today, the territory and its surroundings in 1664 came under English control in 1664 and the city, based on Manhattan, was the capital of the United States between 1785-1790.  Although the exact date on which “Manhattan” became the common descriptor for the island among Europeans, the consensus is it would have been sometime in the mid-seventeenth century.  The cocktail named Manhattan was certainly being served in the 1870s but why it gained the name or just when the first was mixed isn’t known although there are a number of imaginative tales, none supported by evidence.  What is thought most likely is that it was either served in an establishment in the locality or somewhere close seeking to trade of the association with the name.

Lilo in Soho: The Manhattan apartment where Lindsay Lohan lived in 2013, Mercer Street, Soho.

The standard adjective is Manhattanite (of or from, Manhattan) which replaced the earlier Manhattanese which, although obsolete, is sometime still used as a jocular term (to describe a certain style of speck thought associated with financial traders although it was a hardly distinct form).  The noun Manhattanism (the style of architecture and urban design associated with skyscrapers to enable high population densities in a limited space) was a coining of architectural criticism, the companion verbs being Manhattanize, Manhattanizing & Manhattanized; the process was Manhattanization.  In architectural criticism, Manhattanization was something neither wholly good or bad and depended for its reception on where it was used.  Where it was appropriate and added to urban utility, it would be praised if done well but where it destroyed something of social or architectural value, it was derided.

The Manhattan Project's second detonation of an atomic bomb: the mushroom cloud over Hiroshima, 6 August 1945.

The Manhattan Project which developed the first atomic weapons was so-named because the army component of the operation was under the control of the engineering branch and it was the army which was most involved in the initial planning stages which involved the acquisition of land and the physical building of the facilities which would house the research and production staff.  The army’s original project name was “Manhattan Engineer District” simply because that was where their offices were located and, apparently because the US Postal Service used the same name for the workshops of its telephone technicians, it was decided was “Manhattan Engineer District” would be a suitably vague codename and one unlikely to attract attention.  It thus replaced the earlier US A-bomb code name (Development of Substitute Materials) and absorbed the earlier British research project (Tube Alloys).

The Manhattan cocktail

Some cocktails are intimidating not because of what they are but because of what’s involved in their preparation, thus the attraction of the Manhattan cocktail which is easy-to-make drink and needs but three ingredients: whiskey, sweet Vermouth and aromatic bitters.

Ingredients

(1) 2 oz Whiskey: A Manhattan can be made with either Rye or Bourbon, most historically preferring Rye Whiskey because it’s thought to be “spicier”.

(2) 1 oz Sweet Vermouth: Vermouth has something of an aura because it’s vital to both Manhattans and Martinis but it’s just a flavored and fortified wine and it’s the harmonious interaction Rye and Sweet Vermouth which accounts for most choosing Rye.  The garnishing of a Manhattan with a brandied or Maraschino cherry is optional.

(3) 2 dashes Angostura aromatic bitters: A timeless classic and an aromatic, alcoholic infusions of various herbs and spices, neither the recipe or the distinctive oversized label have changed for well over a century.  One drop is so potent it can alter the character of anything to which it’s added and some even recommend a dash in fruit salad (the other faction advocating a few drops of Tabasco sauce for “sharpness”).

Instructions

(1) Chill a champagne coupe, martin glass or a lowball in the freezer or fill it with ice.

(2) Add all ingredients into a mixing glass filled with ice and stir until the drink is chilled. Typically, that takes no more than 20-30 seconds depending on the temperature of the ingredients and the nature of the ice.  A Manhattan must only ever be stirred; they are never shaken.

(3) Strain the drink into the chilled (and empty) Nick & Nora glass and (optionally) garnish the drink with a Maraschino cherry speared on a cocktail stick.

Purists like to stick to the classics but variations of the Manhattan have over the years been concocted:

A Black Manhattan replaces the Sweet Vermouth with Averna Amaro, a complex liqueur which delivers an aromatic experience.  It’s one of those drinks which need to be breathed in for some time before drinking.

In a Dry Manhattan, Dry Vermouth is used.  Most find it an acquired taste and described it as a “harder” drink,

The Rob Roy is known by some as the Scotch Manhattan and obviously, instead of Bourbon or Rye, it’s made on a Scotch Whisky base.  The aficionados of this kink seem all to recommend a blended Scotch rather than a pure malt.

The “perfect” in a Perfect Manhattan uses the word in its mathematical sense, the recipe calling for a 50/50 split between Dry & Sweet Vermouth.  The difference is said to be “very nuanced” and the choice of whiskey will notably change the experience.