Meconium

Meconium (pronounced mi-koh-nee-uhm)

(1) In medicine, the first fecal excretion of a newborn child, composed chiefly of bile, mucus, and epithelial cells; it accumulates in the fetal intestines, manifesting as dark green mucoid material.

(2) In zoology, a dark green mass, the contents of the fetal intestines during the later stages of mammalian gestation, that forms the first feces of the newborn

(3) In entomology, the fecal mass released at pupation by the larvae of some insects.

(4) The milky sap of the unripe seed pods of the opium poppy; crude opium, sometimes called opium juice.

(5) Slang for opium (obsolete).

1595–1605: From the New Latin, from Classical Latin mēcōnium (opium; excrement of a newborn child), from the Ancient Greek μηκώνιον (mēkṓnion) (poppy-juice; opium”), from μήκων (mḗkōn) (poppy).  The Ancient Greek mēkōnion & mēkōn may be related to the Old Church Slavonic maku & the German Mohn and many etymologists support this although it’s not impossible both are of pre-Greek origin, one noting the consensus among botanists that the opium poppy is of Mediterranean origin and the word may later have entered the primitive lndo-European at a later date.  The fecal discharge was so called by classical physicians for its resemblance to the pappy sap, the notion later adopted by entomologists and zoologists to describe the same phenomenon respectively in some insects and mammals.  In chemistry, meconin is an anhydride of meconinic acid (found in opium).  The adjective meconic was first documented in the sense of “pertaining to or derived from the poppy” in 1818 in reference to an acid obtained from opium, and the French meconine exists in the literature as an alternative to the English form meconin.  However, it’s noted meconic may long have been in oral use among physicians.  In Hellenic medicine, mēkōnion came to be used to describe an infant's first excrement because of similarity in colour to the sap of the opium poppy (mēkōn) which had long been so-named.  In human gestation (and of mammals generally & even some insects), a little of the substance called meconium collects lower in the intestines and is discharged at birth.  Meconium is a noun and meconic & meconial are adjectives; perhaps thankfully, it seems there's no adverb.  The noun plural is meconiums.

One charming linguistic coincidence is that the anagram of meconium (baby shit) is encomium which means, inter alia, “a formal speech delivering praise”, the connection between the two not unfamiliar to those who have heard many such insincere orations.  Economium was from the Latin encōmium (praise, eulogy), from the Ancient Greek ἐγκώμιον (enkṓmion) (laudatory ode, praise), from ἐγκώμιος (enkṓmios) (of or pertaining to the victor), from κῶμος (kômos), (festival, revel, ode).  One obstetrician nominated the Ferrari paint color Verde Medio Nijinsky (medium green Nijinsky (Italver)) as a fine way to illustrate to medical students the shade of green a healthy infant’s meconium should display.  It’s probably more pleasing than a photograph (and certainly a sample) of the real thing.

Lester Piggott in green, red & yellow silks, aboard Nijinsky, 1970.

The Ferrari factory named Verde Medio Nijinsky after Nijinsky (Nijinsky II, 1967–1992, by Northern Dancer out of Flaming Page), a Canadian-bred, Irish-trained Thoroughbred.  In 1970, trained by Vincent O'Brien (1917-2009) and ridden by Lester Piggott (1935–2022), he was the twelfth winner of the English Triple Crown (run since 1853 and comprising (1) the 2,000 Guineas Stakes (run over 1 mile (1,609 m) at Newmarket, (2) the Derby (1 mile, 4 furlongs & 10 yards (2,423 m) at Epsom & the St Leger Stakes (1 mile, 6 furlongs & 132 yards (2,937 m) at Town Moor)).  No horse has since won the English Triple Crown and Aidan O'Brien (b 1969), who in 1996 took over Vincent O'Brien’s Ballydoyle stables, was not related to his predecessor.  The link between horse and factory paint chart was in the colors of the silks worn by the jockey; Piggott’s shade of green chosen for Verde Medio Nijinsky.  Ferrari during the 1960s offered almost thirty colors named after Thoroughbreds, a few of the more lyrical being Bianco Tetratema (1.441.110), Grigio Ortello (2.443.813), Blu Caracalla (2.666.901), Blu Turchese Molvedo (2.443.632) & Verde Sea-Bird (2.665.902).

Major Count Francesco Baracca with his SPAD S-XIII (left), the prancing horse on the fuselage base of that on his family’s coat of arms (right).

The link between horses and the Cavallino Rampante ((little) prancing horse) escutcheon chosen by Enzo Ferrari (1898-1988) for both the Scuderia Ferrari team and later the cars he would build lies in a meeting il Commendatore had with the mother of Major Count Francesco Baracca (1888–1918), Italy's top fighter ace of World War I (1914-1918).  The count had emblazoned on the side of his aircraft a horse rearing on its rear hooves, a stylized variation of that which appeared on his family’s coat of arms and in Italian heraldry the prancing horse was of some significance, dating from 1692 when it appeared on the standard of Victor Amadeus II (1666–1732; Duke of Savoy 1675-1730 & King of Piedmont-Sardinia 1720-1730) of Savoy’s Royal Piedmont cavalry regiment.  The horse on the fuselage was originally red, but was repainted black on one of the count’s surviving fighters following his death in aerial combat.  A myth later arose Rolls-Royce had followed the precedent, switching the lettering on their radiator emblem from red to black to mark the death in 1933 of Sir Henry Royce (1863-1933) but although usually red, Rolls-Royce had often used black and other colors; the change in 1933 was aesthetic rather than romantic, the feeling that a dark hue would better suit the colors owners tended to choose for the coach-work and Sir Henry had endorsed the decision well before his death.  It was mere coincidence he died the same year as the change.

Alfa Romeo 8C Monza, Spa Francorchamps, Belgium, 1932.

Enzo Ferrari (1898-1988) and Giulio Ramponi (1902–1986) in June 1923 won the first Grand Prix at the Savio Circuit in Ravenna, driving an Alfa Romeo RL-Targa Florio.  As part of the ceremony following the race, Count Enrco Baracca (1855-1936), father of the aviator, "entrusted" Ferrari with the image of the prancing horse to carry on the memory of his late son, later introducing him to the pilot’s mother, Countess Paolina Baracca.  It was the countess who suggested adding the symbol to his cars, assuring him it would bring good luck.  Alfa-Romeo’s corporate policies prevented an immediate use of the prancing horse but in 1929, Enzo Ferrari created Auto Avio Costruzioni (later to become Scuderia Ferrari) as a separate racing team although one still affiliated with Alfa Romeo and in 1932 permission finally was received for the symbol to adorn the cars.  On that day in 1932, fielding a pair of Alfa-Romeo 8C Monzas at Belgium’s Spa Francorchamps, the scuderia was again victorious, vindicating the faith the countess had shown and the prancing horse continued to be displayed until 1939 when Ferrari began his own car-making operation.  Squabbles and the war intervened but in 1947, Ferrari displayed the 125S (1.5 litre (91 cubic inch) Colombo V12, thus 125 cm³ per cylinder, the origin of the factory’s original naming convention) with the equine logo, although subtly modified, the tail now upturned (al la the Baracca coat of arms) the beast more sinuous and the background the canary yellow of Modena where il Commendatore had based his operation.  The prancing horse has adorned every Ferrari since.

1972 Ferrari 365 GTC/4 (Typo F101) in Verde Medio Nijinsky over beige leather (left) and Ferrari 365 GTB/4 Coupé (with Borrani wire-wheels) in Rosso Corsa (Racing Red) over tan leather (right).

Although now regarded as a classic of the era, the 365 GTC/4 lives still in the shadow of the illustrious 365 GTB/4 with which, mechanically, it shares much.  The GTB/4 picked up the nickname “Daytona”, an opportunistic association given 1-2-3 finish in the 1967 24 Hours of Daytona involved three entirely different models while the GTC/4 enjoyed only the less complementary recognition of being labeled by some il gobbone (the hunchback) or quello alla banana (the banana one).  It was an unfair slight and under the anyway elegant skin, the GTB/4 & GTC/4 shared much, the engine of the latter differing mainly in lacking the dry-sump lubrication and the use of six twin-choke side-draft Weber carburetors (type 38DCOE59/60) rather than the downdrafts, this permitting a lower hood (bonnet) line.  Revisions to the cylinder heads allowed the V12 to be tuned to deliver torque across a broad rev-range rather than the focus on top-end power which was one of the things which made the GTB/4 so intoxicating.  One quirk in the specification of the Daytona was, unusually for a front-engined car, it used a rear-mounted transaxle to provide optimal weight distribution, reflecting the emphasis on performance. 

Runner-up & winner, 2015 Miss Universe Contest.  Ariadna María Gutiérrez Arévalo (b 1993), Miss Colombia 2014 & first runner-up (left) and Pia Alonzo Wurtzbach (b 1989), Miss Philippines 2015 & Miss Universe 2015 (right).  

Criticizing the GTC/4 because it doesn’t quite have the visceral appeal of the GTB/4 seems rather like casually dismissing the model who managed only to be runner-up to Miss Universe.  The two cars anyway, despite sharing a platform with the same wheelbase and track, were intended for different purposes, the GTB/4 a high performance road car which could, with relatively few modifications, be competitive in racing whereas the GTC/4 was a grand tourer, even offering occasional rear seating for two (short or uncomplaining) people.  One footnote in the history of the marque is the GTC/4 was the last Ferrari offered with the lovely Borrani triple-laced wire wheels; some GTB/4s had them fitted by the factory and a few more were added by dealers but the factory advised that with increasing weight, tyres with much superior grip and higher speeds, they were no longer strong enough in extreme conditions and the cast aluminum units should be used if the car was to be run in environments without speed restrictions such as race tracks or certain de-restricted public roads (then seen mostly in West Germany (FRG), Montana & Nevada in the US and Australia's Northern Territory & outback New South Wales (NSW)).  A Ferrari in Verde Medio Nijinsky is a rarity but does illustrate how well colors other than the dominant red can suit the lines.  A Ferrari in white or navy blue can be a revelation.

Cinderella.  As a design, the once neglected GTC/4 really should be compared with the other big 2+2 coupés of the era, exotic and otherwise.  Whatever the extent of the mechanical similarity, the GTB/4 was a thing of a certain time and place which both allowed and dictated something more uncompromising.  The still stunning GTB/4 was the evolutionary apex of its species; it can't be improved upon but the GTC/4 is no ugly sister and when contemplating quello alla banana, one might reflect on the sexiness of the fruit.

Verde Medio Nijinsky is a neglected color: 1972 Ferrari 365 GTC/4 (left), a matching Lindsay Lohan (centre), rendered in AI (artificial intelligence) as “The Incredible Hulk” by Stable Diffusion (centre) and 1974 Dino 246 GTS (right); Ferrari finished only three Dino 246s in Verde Medio Nijinsky.

Cover of Candy-O (1979) by The Cars (left) and the photograph on which the cover-art was based (right).

Years after production ended, the 365 GTC/4 earned an unusual place in the history of pop culture when a line-art rendering of one appeared on the cover of Candy-O, the second album by US rock band The Cars (formed 1976).  The artwork was created by Peruvian-American painter of pin-ups Alberto Vargas (1896–1982) who, as well as being acknowledged as the definitive exponent of what came to be called “cheesecake girls”, was between 1956-1958, a judge for the Miss Universe beauty contest.  Mr Vargas came out of retirement for the commission, induced apparently by a niece who was a fan of the music, something with which he was at the time wholly unacquainted.  The artist’s technique required a photograph on which he could base the image so a photo-shoot was arranged at a nearby Ferrari dealership which, perhaps surprisingly, agreed to have the statuesque, stiletto clad model sprawl over the hood of a 365 GTC/4 then on the lot.  There’s no mention of damage to the Rosso Nearco paint so all's well that ends well.  Nearco (1935–1957) was a famous Italian thoroughbred and the factory paint code was 2.664.032; it was a subtly-metallic shade of red rather darker than the classic Rosso Corsa.

Candy Moore adorning Ferrari 365 GTC/4 in Rosso Nearco, Candy-O photo shoot session, Beverly Hills, Los Angeles, 1979.  This was the pre-digital era and photographers used physical film stock although the highly flammable celluloid had by then been replaced by acetate-based “safety film”.

The model in the photo shoot (a substitute after the original had second thoughts upon seeing the scantiness of the outfit) was Candy Moore (who later appeared in the movie Lunch Wagon (1981)) but the name was a coincidence, the album’s title (and sixth track on side one of the original release) locked in long before the shoot.  As is usually the case with photo-shoots, many images were taken and one of the determining factors in the choice was its compositional suitability for use on the 12.375 inch (314.3 mm) square format of album art, the one selected among the last on the roll.  Mr Vargas, being a cheesecake artist, of course used a little licence in his interpretation and (with all due respect to the lovely Ms Moore) few would claim his enhancements don’t add to the appeal.  The other coincidence attached to the model’s name is she’s often confused with the actress Candace Lee Klaasen (b 1947) who worked under the stage name Candy Moore, appearing in well-known television series including Leave It to Beaver, and The Lucy Show.  Surprisingly, even the usually accurate IMDb (Internet Movie Database) gets the two mixed-up.

Gully

Gully (pronounced guhl-ee)

(1) A small valley or ravine originally worn away by running water and serving as a drainage-way after prolonged or heavy rain.

(2) A ditch or gutter.

(3) In cricket, a position in the off-side field (some 30^o behind square), between point and the widest of the slips (or wicket-keeper if no slip is set); the fielder occupying this position.

(4) In tenpin bowling, either of the two channels at the side of the bowling lane.

(5) To make gullies in the ground or an object

(6) In hydrology, to form channels by the action of water.

(7) In slang, or relating to the environment, culture, or life experience in poor urban neighborhoods; vulgar, raw, or authentic and sometimes used as an alternative to ghetto.

(8) In (US) slang, as gullywasher, an intense, but typically brief rain event, the form dating from 1887.

(9) In Scotland and northern England, a knife, especially a large kitchen or butcher’s knife (the alternative spelling gulley).

(10) In some parts of the English-speaking word, a synonym for valley, especially one heavily wooded; a deep, wide fissure between two buttresses in a mountain face, sometimes containing a stream or scree (although in most traditions gullies are usually dry, water flowing only after heavy rain or a sudden input of water from other drainage systems.

(11) In engineering slang, any channel like structure which is available to be used for some purpose such as ducts or cables (applied to anything from computer motherboards to nuclear reactors).

(12) In engineering, a grooved iron rail or tram plate (mostly UK).

(13) In civil engineering, sometimes used as a descriptor for drop-kerbs, gutters etc.

(14) Of liquid, noisily to flow (obsolete).

(15) In South Asia (chiefly India but known also in Pakistan, Bangladesh & Sri Lanka), an alleyway or side street.     

1530–1540: Etymologists have traced several possible sources of the word and it’s not impossible the word evolved independently in different places.  It may have been a variant of the Middle English golet (esophagus, gullet), from Old French goulet (the French –et ultimately replace by –y), from Latin gula (throat) and the meaning-shift in the Middle English to "water channel, ravine" may have been influenced by Middle English gylle, gille & galle (deep narrow valley, ravine), hence gill for some time being a synonym.   An alternative source from The French has been suggested as goulet (neck of a bottle).  The use is South Asia is more certain, borrowed from Hindi गली (galī) and the Urdu گَلی‎ (galī) with the spelling evolving under the Raj under the influence of English.  It was inherited from Ashokan Prakrit galī and was cognate with the Punjabi ਗਲੀ (galī) / گَلی‎ (galī), the Gujarati ગલી (galī), the Sindhi ڳَليِ‎ / ॻली, the Marathi गल्ली (gallī) and the Bengali গলি (gôli), the Latin callis, the Italian calle and Spanish calle (street, lane or path).  The first reference (in Scottish English) to the knife (the spelling gully or gulley) dates from circa 1575–1585, the origin unknown.  Gully is a noun & verb and gullied & gullying are verbs; the noun plural is gullies.

Fielding positions in cricket.  Although some seem now mysterious, at some point all would have made sense to someone.

Historically, a gully was a natural formation of water flows which was usually dry except after periods of heavy rainfall or a sudden input of water from other drainage systems after more remote flooding or the melting of snow or ice.  Over the years the meaning has become less precise and other words are sometimes used to describe what are understood by many as gullies.  The noun ravine (long deep gorge worn by a stream or torrent of water) dates from 1760 and was from the mid seventeenth century French ravin (a gully), from the Old French raviner (to pillage; to sweep down, cascade), and the French ravine (a violent rush of water, a gully worn by a torrent), from the Old French ravine (violent rush of water, waterfall; avalanche; robbery, rapine).  Both the French noun and verb ultimately came from the Latin rapina (act of robbery, plundering (related to rapine and the source of much modern confusion because “rape” was long used in the sense of “pillage” or “kidnapping”)) with sense development influenced by the Latin rapidus (rapid).  Entries for ravine appear in early seventeenth century dictionaries with the meaning “a raging flood” whereas in fourteenth century Middle English, both ravin & ravine meant “booty, plunder, robbery”, this circa 1350-1500 borrowing of the Latin influenced French word.  Dating from 1832, the noun gulch (deep ravine), despite being of recent origin, is a mystery.  It may have been from the obsolete or dialectal verb gulsh (sink in to the soil) or "gush out" (of water), from the early thirteenth century Middle English gulchen (to gush forth; to drink greedily), the most evocative use of which was the mid thirteenth century gulche-cuppe (a greedy drinker).  Despite the vague similarities, etymologists maintain these forms had no etymological connection with gully.  Other words (trench, culvert, crevasse, chasm, notch, chase, watercourse, channel, gutter gorge watercourse etc), even when they have precise meanings in geography or hydrology, are also sometimes used interchangeably with gully.

Japanese manhole covers (マンホールの蓋 (Manhōru no futa)) can be delightful or functional (in a typically thoughtful Japanese manner, some include a locality map with directions) but usually provide little inspiration for those designing wheels.

In the nineteenth century, German picked up Gully from English in the sense of “a road drain, a drainage channel” (synonym: Straßenablauf), the covering of a road drain or gully being Ablaufgitter & Ablaufdeckel.  One adaptation quickly coined was Gullydeckel (manhole cover), the construct being gully + deckel, (an untypically economical construct in German given the usual forms for manhole were Kontrollschacht & Einstiegschacht), an alternative to Kanaldeckel (manhole cover).  Deckel (lid, cap, cover of a container) was an ellipsis of Bierdeckel (beer mat) and also used in humorous slang to mean “headwear, hat” although it was most productive in the formation of compounds with cap in the sense of “an artificial or arbitarily imposed upper limit or ceiling” such as Preisdeckel (price cap), the common synonym being Deckelung (capping).

A German Gullideckel (left), a Mercedes-Benz “Gullideckel” aluminum wheel (centre) and a 1988 Mercedes-Benz 560 SL so equipped.

The alternative spelling was Gullideckel and it was this which was picked up to describe the design of aluminum wheel adopted by Mercedes-Benz in 1982.  The reference is explained by the wheel’s design bearing a similarity to that typically used by German manhole covers although Mercedes-Benz dryly explained their concerns were less artistic or a tribute to Teutonic urban hydrology than a reflection of the imperatives of optimizing the air-flow required for brake cooling and a reduction in drag compared to their earlier, long-serving design.  It was in the 1980s that the greatest improvement in the aerodynamic efficiency of cars was achieved and wheels were a significant, though often little-noticed part of the process.

Top row: Mercedes-Benz C111 at Hockenheimring, 1969 (left).  The C111 series was originally a rolling test bed for the evaluation of Wankel engines ad it was on the C111 that the new wheels (then called “Premier”) were first shown although no production versions (centre) were ever made so wide.  The 6½ inch versions were first used on the 450 SEL 6.9 (right).  Bottom row: A bundt cake tin (left); like the wheels, the tins are made from aluminum but are always cast or pressed, not forged.  A ginger bundt cake (centre) and a lemon blueberry bundt cake with vanilla icing (right).      

Aunger magazine advertisement, Australia, 1974.  Not all wheels use an existing circular product as a model.  A style popular in the 1970s, it was known colloquially as the “jellybean”, “slotted” or “beanhole”.  Later in the decade, “phonedial” wheels (and wheel covers) arrived. 

The earlier design used by Mercedes-Benz was apparently not inspired by any existing product but the public soon found nicknames.  Introduced in 1969 and soon an option throughout the range except du Grosser (the 600 (W100) 1963-1981) until 1986, the factory initially listed them as the “Premier Wheel” (ie the “top of the range”) but in the public imagination the nicknames prevailed.  First informally dubbed "Baroque" because of what was then considered an ornate design, the name which endured was “Bundt” an allusion to the popular “bundt cakes”, a circular cake with a hole in the centre and there was certainly some resemblance.  Produced by the Otto Fuchs (pronounced fuks) Company of Meinerzhagen (near Cologne), the early versions were all painted silver (though not clear-coated) and available only in a 14 x 6-inch size, 5½ inch versions soon offered to suit the lower powered cars while in the mid-1970s, production began of 6½ inch versions to handle the tyres fitted to the much faster 450 SEL 6.9 (W116) and 450 SLC 5.0.  Demand for the bundt wheel option grew rapidly, forcing Fuchs to add a line of cast wheels in the same design, the casting process able to achieve both higher volumes and a lower unit cost.  The process of forging aluminum requires great heat and immense pressure (Fuchs used as much as 7,000 tons of force) and realigns the granular structure of the material in the direction of the flow, creating a more homogeneous and less porous micro-structure.  Forging renders aluminum as strong as steel for less weight and provides a notably higher resistance to fatigue and corrosion but the process is expensive.  Fuchs also manufactured small runs of a 15 x 7-inch version and today these are much sought after but, being expensive, they remain rare.  Such is the appeal of the style, specialists in the US have fabricated versions in both a 16 & 17-inch format to enable the use of the larger, more capable tyres now available.  Today, factories often offer a variety of designs of aluminum wheels with some styles available only briefly but for over fifteen years, the Bundt was the only one available on a Mercedes-Benz.

Five-leaf clover: Fuchs wheels on Porsche 911s in matte, (left), polished (centre) & with painted "recessed areas" (right).  The five spoke wheel is a matter of particular interest to the originality police in the Porsche collector community and great attention is paid to date-stamping and paint, it being very important that where appropriate the wheels variously should be polished, painted or raw metal.  The Porsche pedants (who in intensity and seriousness recall seventeenth century Jesuit priests) do not tolerate any deviance from what was done by the factory and have an encyclopaedic knowledge of the way paint was sometimes applied to recessed areas.  

Half a decade earlier, the neighbors in Stuttgart had also designed an aluminum wheel.  Porsche had planned a 1965 release for its new 911S, at that time the fastest, sportiest version of the 911 which had been on sale since 1963 and the distinctive five-spoke shape would first be sold in 1966 and remain on the option list until 1989, the popularity so enduring it’s since been reprised more than once.  Distinctive though it was, there were really only two requirements for the new wheel: It needed to be durable and light, strong enough to endure the stresses the higher speed of the 911S and delivering a reduction in un-sprung mass weight significant enough to enhance handling.  The design target was an aluminum wheel which weighted 3 kg (6½ lb) less than steel wheel of the same dimensions.

1957 Volkswagen (Type 2) Microbus Deluxe (23 window) with 15 inch Fuchs-style chromed wheels (not a VW part-number).  Between 1951-1967, the Microbus was offered as the Kleinbus Sonderausführung (small bus, special version) which was marketed variously as the Microbus Deluxe, Sunroof Deluxe & Samba; the most obvious distinguishing features were the folding fabric sunroof and the unusual “skylight” windows which followed the curve of sides of the roof, a technique borrowed from tourist train carriages, busses and sightseeing boats.  The early versions (1951-1963) had 23 pieces of glass but when the bodywork was revised, the rear section would have had insufficient structural integrity had the curved rear-corner windows been retained so those built between 1964-1967 had only 21, thus the premium (reckoned at up to 20%) attached to the first generation.  Sambas faithfully restored to original specification have sold for over US$300,000 but on those which have been modified (larger displacement engines often fitted), the "five-leaf clover" wheels sometimes appear.  

Porsche had also used the Otto Fuchs Company, impressed by the foundry having developed a new manufacturing process which, instead of using a cast rim, manufactured it in one piece from an alloy made of 97% aluminum with the remainder composed mostly of magnesium, silicon, manganese & titanium, the technique still used by the company today.  The five-leaf clover design was based on nothing in particular and done in-house by Porsche, the only change from the original prototype apparently a smoothing of the scalloped shape which first adorned the spokes.  The design proved adaptable, the original 15 x 4½-inch wide wheels growing eventually to eight inches when fitted to the rear of the 911 Turbo (930; 1975-1989), the additional rubber required to tame (to some degree) the behavior of a machine which some labeled the “widow maker”.  Later designs have offered various specific improvements but none has matched the charm of the original and Fuchs have continued its manufacture for later model 911s, some in larger diameters to accommodate advances in suspension geometry and tyres.

Top row, gas-burners butt-to-butt: Lindsay Lohan using gas-burner as improvised cigarette lighter, Terry Richardson (b 1965) photo-shoot, 2012 (left) and 1970 Porsche 914/6 with Mahle “gas-burner” wheels.  Bottom row: Five-hob Kenmore gas-burner stove, circa 1950 (left) and a quintet of five-lug Mahle “gas-burners” (option code 975, part number 901.361.017.00, 5½"J x 15", 42mm offset).  The five-lug wheels were used on the 911 & 914/6 while the four lug version (part number 914-361-015-00) was for the 914.

Although the five-leaf clover design never picked-up an association with circular shapes like manhole covers or cakes, there was another Porsche wheel which did.  Produced by Mahle GmbH and quickly dubbed “gas-burners” (an allusion to the resemblance to the hobs on gas-stoves), they were available on the 911, 912 & 914-6 between 1970-1972 and although generally not thought as attractive as Fuchs’ creations, the gas-burners have a cult following based on pure functionality: pressure cast in magnesium and available only in a 15 x 5½-inch format, at 4.3 kg (9½ lb) they’re said to be the lightest 15-inch wheel ever made, more svelte even than the 15 x 6-inch units Michelin rendered in glass fibre & resin for the Citroën SM (1970-1975) (the so-called “plastic wheels”).

1972 Porsche 917/10.

The Mahle “gas-burners” usually were seen in unadorned metal and over the years that hasn’t changed, Porsche owners usually resisting any temptation to have them chrome-plated, a commendable restraint which didn’t extend to many with Mercedes-Benz SLs, SECs, CLs and such, the lure of the shiny apparently afflicting only those of certain German cargo cults.  The Mahles did though in 1974 have one colourful outing, Porsche making a thousand-odd 914 LEs (Limited Edition) models to celebrate the success of the 917/10 & 917/30 in the 1972 & 1973 Can-Am (Canadian-American Challenge) Cup series for unlimited displacement (Group 7) sports cars.  The LE version came with the 914’s mechanical specification unchanged so it was a modest tribute to one of the most extraordinary racing cars ever built (one which routinely took to the track with 1,000 horse power (HP) and in qualifying trim could be tuned to generate close to 1,500) but it was a difficult era (post emission control & pre modern electronics) in which to make street-legal high-performance variants so colors & bundled extras it had to be.

1972 Porsche 917/30.

The plan had been for the run to be called the “914 Can-Am” but while the SCCA (Sports Car Club of America, the sanctioning body for the series) was in principle agreeable, the parties, after some haggling, couldn’t agree on the per-vehicle royalty fee so the bland (and free) “LE” moniker was used; on the option list, the package appeared as M-778 (Can-Am equipment) so presumably the material was printed in anticipation of agreement being reached with the SCCA.  All the LEs left the factory in the spring of 1974 and, in the way Porsche then did things, their specification was close to identical with the odd variation, things like tinted glass or the rear demister sometimes fitted, sometimes not.  The Porsche clubs account for this by the LEs not being produced in a single, dedicated batch (The VINs (vehicle identification number) span a range of 2400-odd) with the parts fitted as cars came down the line, meaning the LEs were interpolated with standard 914s.  There were two basic LEs: some 500 in Black (LO41) with Sunflower Yellow (L13K) highlights (code U1V) and 500 in a Light Ivory (L80E) & Phoenix Red (L32K and visually close to orange) mix (code U2V9), the former picking up the predictable nickname “Bumblebee” the latter, more imaginatively, dubbed “Creamsicle” (a type of ice cream with a similar color scheme).  Rumours of a Yellow & Green combo were apparently an urban legend so the “Grasshopper” was a fabulous beast although privately, some 914s have been transformed thus.

1974 Porsche 914 LE “Bumblebee”.

All the LEs were shipped to North America for sale in the US and Canada and along with the RPO (regular production option) Appearance Group option (Code 06, fog lamps and centre console with clock and additional gauges (oil temperature & voltmeter) at US$300), the LE package (an additional US$320) included special interior appointments, the Mahle “gas-burner” wheels, a front air-dam (spoiler), front and rear anti-sway bars and, of course, the two unique paint combinations, highlighted by a “negative stripe” just above the rocker panels, spelling out “Porsche”.  All LEs were fitted with the 1971 cm³ (120 cubic inch) Volkswagen-based flat four which, rated at 91 HP (as certified for use in the US) had made the 914 more competitive than when fitted with the original 1795 cm³ (110 cubic inch), the characteristics of which were judged “marginal” in a sports car and the factory must have agreed, the fraction in its claim of 72½ HP a hint every little bit helped.  Few though ever complained about the handling the mid-engined configuration offered and the four-wheel disc brakes also attracted praise.

1974 Porsche 914 LE “Creamsicle”.

The 914 LE was a one-off but it did pass on some bits and pieces used later in the 914’s run (1969-1976), the most obvious of which was the front air-dam (part number 914.503.235.10), listed eventually on the RPO list for US$145 and supplied as a dealer-fitted kit with a pair of mounting brackets (left 914.503.237.10 & right 914.503.238.10); it replaced the standard metal valence.  In common with many fittings of its type, the air dam was susceptible to impacts with kerbs and it’s the part of the LE least likely to have survived the years; while reproductions have been made, the Porsche community notes the quality of the OEM (original equipment manufacturer) units was superior.  Also available in the aftermarket are reproduction side stripes and they exist because (1) some cars were (at the customer’s request) supplied un-striped and (2) there was in 1974 some market resistance to the distinctive color schemes so dealers sometimes resorted to restoring them to what were essentially plain Black or Light Ivory 914s, an approach taken in 1970-1971 by some Plymouth dealers who found the wildly styled Superbird sometimes a “hard sell”.  However, the 914 LE now has a cult following and when one is discovered without its distinctive fittings, a restoration is common although collectors note the twenty-first century’s reproduction Phoenix Red vinyl doesn’t quite match what was done in 1974.

1929 Isotta Fraschini 8A SS Roadster Cabriolet by Castagna.

Fifty-odd years on, in an age of black, gray, silver & white, Porsche’s “Creamsicle” might be thought an example of the excruciable colour combinations of the 1970s (a decade of browns, oranges and greens disturbingly recalling meconium) but, as events fade from memory into history, constructs of what the past “looked like” must come from paintings, photographs and films.  After color photography in the post-war years became ubiquitous, the hues part of the environment became recorded with increasing accuracy as the equipment improved and with the advent of mass-market digital devices, such is the volume stored that it’s now likely that somewhere, accessible by someone, there’s a HD (high-definition) color image of just about every public space.  However, in the pre-war years, most of the photographic record was in “monochrome” (actually gray-scale or sepia).  Although the Autochrome process became available in 1907, it produced images which often can’t relied upon to be an accurate depiction of a color and it was anyway expensive, meaning it was used mostly by professionals and governments (the military especially attracted because of the possibilities it offered for aerial photography).  Not until the mid-1930s when Eastman Kodak’s Kodachrome and Agfa’s Agfacolor Neu were released as consumer products (at a price the middle-class could afford), did color photography reach the mass-market.

1930 Packard 745 Deluxe Eight Convertible Victoria by Dietrich.  Even if in 1974 Porsche's “Bumblebee” color scheme might have startled some, folk in 1930 may have been untroubled by the sight of expanses of yellow and black.

When what was described as a “1929 Isotta Fraschini 8A SS Roadster Cabriolet by Castagna” appeared on an auction site, much discussion ensued, the debates focused on “originality”, that holy grail of the collector market.  What the commentators were interested in was the mechanical specification and the bodywork but just when it gained its orange & cream finish was also unclear.  Whether this car, all those years ago, left the coach-builder in exactly the hues presented may never be known but color imagery from the 1920s does confirm it was not an era of beige and such, vibrant colors common and two, three and even four-tone finishes not uncommon.  That trend continued; although it became fashionable to speak of the 1950s as an era of “dull conformity”, while there would be sociologists who’d support the notion, in clothes and on cars, it was a colourful time and all indications are the 1920s and 1930s often similarly were vivid; far from being radical, Porsche’s “Creamsicle” scheme was really a “retro-look”.  The Isotta Fraschini in February, 2026 sold for US$275,000 which also attracted comment, comparisons made with other examples of the marque having realized over a million.  There are reasons for that including the importance of originality and a documented pedigree but what can’t be denied is the general decline in the value of pre-war “collectables”, something related not to general economic conditions but the simple fact that those with an emotional connection to machines of that era are dying off.